Early video art in Europa: A plural history
Información General
- Autores: François Bovier (coord.), Grégoire Quenault (coord.)
- Editores: Les Presses du réel
- Año de publicación: 2026
- País: Francia
- Idioma: inglés
- ISBN: 9782378965389
- Enlaces
Resumen
This book aims to examine the emergence of video art on a European scale. This process is plural and disparate, with multiple chronologies depending on the conditions of access to material—from the 1960s to the 1990s. The practices themselves are manifold, despite a certain number of common points. Sometimes video is closely linked to performance, the body and identities; at other times to the materiality of its medium, to the constituent features of electronic images and sounds, often using synthesizers and colourizers; at yet other times it develops with or against television.
Some national histories are known and have been the subject of in-depth research, while others remain untold or unknown. The aim of this book is to provide an initial overview of the early days of video art in Europe, drawing on a network of some fifty researchers
Otros catálogos
Identificadores de libro
DOIListado de artículos
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Record, stop, rewind: Mapping early video art in Europe
François Bovier, Grégoire Quenault, Miranda Stewart (trad.)
págs. 9-15
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Video art pioneers in Europe (1960s-1980s)
págs. 19-29
págs. 30-31
Taking place, Gerry Schum and the history of the Fernsehgalerie (TV-Gallery)
Philippe Alain Michaud, Miranda Stewart (trad.)
págs. 32-33
págs. 35-45
págs. 46-47
An open network: Video art in Switzerland, a story of fragmentation cohesion (1969-1980)
págs. 49-59
Yellow Now: Propositions d’artistes pour circuit fermé de télévision (1971)
págs. 60-61
pág. 62
The “black market” in Czech video art: From the politics of isolation to community sharing
págs. 63-71
págs. 72-73
Federal Republic of Germany: Selected historiography of video events and works before 1980
págs. 75-89
págs. 90-91
págs. 93-103
pág. 104
págs. 105-106
Early experiments in video art in Spain: Precariousness, experimentation, activism
José Luis Panea, Sergio Martín, Miranda Stewart (trad.)
págs. 107-117
The video section at EXPRMNTL 5: (Knokke-Heist, December 25, 1974 January 2, 1975)
pág. 118
págs. 119-131
pág. 132
págs. 133-150
Artists’ video tapes: (Palais des Beaux-Arts, Brussels, 1975)
págs. 151-152
págs. 153-163
págs. 164-165
págs. 167-173
Video art and sociological art (1975) and video art (1976): Transnational collaboration and cultural transfers in Poland
págs. 174-175
págs. 177-187
The Paris Biennales: 9th Biennale (1975) and 10th Biennale (1977)
págs. 188-189
A short history of video art in the Netherlands: From the 1960s to the 1980s
págs. 191-201
pág. 202
Self-organisation, institutions, works and networks: A concise history of video art in Poland,1973–1985
págs. 203-213
pág. 214
pág. 215
págs. 217-224
pág. 225
págs. 226-227
págs. 229-238
pág. 239
págs. 241-250
Infermental: The First International Magazine on Videocassettes (1981–1991)
págs. 251-252
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New waves in Europe. A brief insight
págs. 257-259
págs. 261-264
págs. 265-270
pág. 272
págs. 273-274
págs. 274-279
págs. 281-288
págs. 289-293
Body, experiment, marginality: The beginnings of video art in Romania
págs. 295-297
págs. 299-303
The emergence of video art in Europe: Medium, media, and intermedia
François Bovier, Grégoire Quenault, Miranda Stewart (trad.)
págs. 305-314
