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REWIND ITALIA: Videoart in Italy 1968-1994

REWIND ITALIA：意大利录像艺术 1968-1994

基本信息

批准号：
AH/I001107/1
负责人：
Stephen Partridge
金额：
$ 27.62万
依托单位：
University of Dundee
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2011
资助国家：
英国
起止时间：
2011 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FI001107%2F1
关键词：
REWIND ITALIA Videoart Italy 1968

项目摘要

The history of Videoart is a varied one. Linked to the appearance in 1965 of the Sony Portapak, the first portable video camera, or to the first video exhibition 'TV as a Creative Medium' (Howard Wise Gallery, New York, 1969), its conceptual origins can be traced back to Spazialismo, the art movement founded by Lucio Fontana (Milan 1947-52). Historiographies have often emphasized a pervasive American influence on the evolution of this art form particularly since by the end of the 1970s American museums, including the Whitney and the MOMA, added video to their curatorial departments, thus contributing to the survival of the medium.Traditionally, the history of Videoart in Europe has been of interest to restricted circles of specialists, although programmes devoted to the preservation of analogue videotapes have appeared in several European countries: the Netherlands Media Art Institute, The Video Data Bank Denmark, France Heure Exquise and ZKM in Germany. Recently, the inception of Videoart in Britain, has been the concern of the AHRC funded REWIND: Artists' Video in the 70s & 80s research project (2004-08) www.rewind.ac.uk. Such a project, whose aim was to encourage the re-exposure of a significant period of video production in Britain to a wider audience constitutes the intellectual springboard for the proposed REWIND ITALIA: Videoart in Italy 1968-81.The reiteration of the iconic term 'rewind' in our new project's title signals a continuity of aims, (within a culturally distinctive context like the Italian one) and our confidence in the validity of established research skills, methodologies and institutional context (Duncan of Jordanstone at the University of Dundee - an institution with an excellent track record in managing significant research grants).The impetus behind the REWIND ITALIA project stems from the consideration that Italy was a vibrant centre of Videoart production and exhibition throughout the 1970s. All the more remarkable because of the international reach of the work produced. Some of the artists connected to the Italian video centres include well known names such as: V. Acconci, J. Baldessari, C. Boltanski, D. Buren, G. De Dominicis, A. Kaprow, J. Kounellis, M. Abramovic, S. Bussotti, G. Cattani, C. Kubish, N. J. Paik, J. Shaw, P. Weibel, B. Viola. This early work laid the foundation for Videoart, thus it is only timely that its history and the social, cultural and economic circumstances that characterized its rise and, ultimately, its fall into critical oblivion are finally brought to light. In detail, REWIND ITALIA will focus on the activities of video production and documentation of three centres: Art/Tapes/22, run by Maria Gloria Bicocchi in Florence (1973-76),the first European studio for artist videos; the Centro Video Arte run by Lola Bonora in Ferrara (1972-94), a rare example of public sponsored videoart, and the Galleria del Cavallino based in Venice and run by Paolo Cardazzo. Between 1974 and 1981 the Galleria produced over one hundred videos shown in several (inter)national exhibitions. In addition, the project will consider the rich video tape collection of Luciano Giaccari whose group Studio 970/2 was interested in using the new medium for artistic documentation (see for example the 'Television as Memory' project, 24 hours no-stop Theatre, Varese June 2nd 1968).The activities of the above centres have received only scanty international exposure, (an exception is the exhibition Art/Tapes/22, Long Beach,CA. University Art Museum, 2008). To date, no critical overview of the above experiences has been produced. Also, there is an urgency to this research, illustrated by the fact that the pioneers mentioned above (Bicocchi, Bonora, Cardazzo,Giaccari) are already in retirement. Their impact on the history of video as an art form has for too long escaped the recognition that they so unequivocally deserve.

视频艺术的历史是一个不同的。与1965年第一台便携式摄像机索尼Portapak的出现或第一次视频展览“电视作为创造性媒介”（霍华德怀斯画廊，纽约，1969）有关，其概念起源可以追溯到卢西奥丰塔纳（米兰1947-52）创立的艺术运动Spazialismo。史学家们经常强调美国对这种艺术形式的演变的普遍影响，特别是在20世纪70年代末，美国博物馆，包括惠特尼博物馆和现代艺术博物馆，将视频添加到他们的策展部门，从而促进了媒体的生存。传统上，欧洲视频艺术的历史一直受到专家圈子的限制，尽管在几个欧洲国家出现了专门保存模拟录像带的方案：荷兰媒体艺术研究所、丹麦录像数据库、法国Heure Exquise和德国的ZKM。最近，Videoart在英国的兴起，一直受到AHRC资助的REWIND的关注：70年代和80年代的艺术家视频研究项目（2004-08）www.rewind.ac.uk。这样一个项目，其目的是鼓励重新暴露的一个重要时期的视频制作在英国更广泛的观众构成了智力跳板，为拟议的倒带意大利：意大利1968- 81年的录像艺术。在我们新项目的标题中，标志性的术语“倒带”的重申标志着目标的连续性，（在意大利这样一个文化独特的背景下）和我们对既定研究技能有效性的信心，方法和体制背景（邓迪大学乔丹斯通的邓肯--该大学在管理重大研究赠款方面有着出色的记录）10. REWIND ITALIA项目背后的动力来自于这样一种考虑，即意大利在整个1970年代是一个充满活力的录像艺术制作和展览中心。更值得注意的是，由于所产生的工作的国际影响。与意大利视频中心有联系的一些艺术家包括知名人士，如：V. Acconci，J. Baldessari，C. Boltanski，D.布伦湾De Dominant，A. Kaprow，J. Kounellis，M. Abramovic，S.布索蒂湾卡塔尼角Kubish，N. J. Paik，J. Shaw，P. Weibel，B.紫.大这部早期作品为Videoart奠定了基础，因此，它的历史以及其崛起的社会，文化和经济环境以及最终陷入关键遗忘的情况最终被揭示出来。具体而言，REWIND ITALIA将侧重于三个中心的录像制作和文献活动：Art/Tapes/22，由Maria格洛丽亚Bicocchi在佛罗伦萨经营（1973-76年），这是欧洲第一个艺术家录像工作室;洛拉·博诺拉在费拉拉（1972-94）经营的录像艺术中心是一个罕见的公共赞助录像艺术的例子，以及位于威尼斯的卡瓦利诺美术馆，由保罗·卡达索经营。在1974年至1981年期间，该画廊制作了100多个视频，在几个（国际）国家展览中展出。此外，该项目还将考虑Luciano Giaccari丰富的录像带收藏，他的工作室970/2对使用新媒体进行艺术记录感兴趣（例如，见“电视作为记忆”项目，24小时不间断剧院，瓦雷塞1968年6月2日）。上述中心的活动只得到了很少的国际曝光，（一个例外是展览艺术/磁带/22，长滩，加利福尼亚州。大学美术馆，2008年）。到目前为止，还没有对上述经验进行批判性的概述。此外，这项研究也很紧迫，上面提到的先驱者（比科基、博诺拉、卡尔达佐、贾卡里）已经退休。他们对视频作为一种艺术形式的历史的影响已经太久没有得到他们明确应得的认可。