REWIND ITALIA: Videoart in Italy 1968-1994

Videoart的历史是多变的。它的概念起源可以追溯到卢西奥·丰塔纳（1947-52年，米兰）创立的艺术运动Spazialismo，它与1965年索尼Portapak（第一台便携式摄像机）的出现或第一次视频展览“电视作为一种创意媒介”（Howard Wise Gallery，纽约，1969年）有关。历史学家经常强调美国对这种艺术形式演变的普遍影响，特别是在20世纪70年代末，包括惠特尼和现代艺术博物馆在内的美国博物馆在其策展部门增加了视频，从而为这种媒介的生存做出了贡献。传统上，欧洲录像艺术的历史只引起少数专家的兴趣，尽管在几个欧洲国家出现了专门保存模拟录像带的方案：荷兰媒体艺术学院、丹麦录像数据库、法国Heure Exquise和德国ZKM。最近，录像艺术在英国的开始，一直受到AHRC资助的REWIND: 70年代和80年代艺术家的录像研究项目（2004-08）www.rewind.ac.uk的关注。这样一个项目，其目的是鼓励在英国录像制作的一个重要时期重新暴露给更广泛的观众，构成了拟议的“意大利回放：1968-81年意大利录像艺术”的智力跳板。在我们的新项目标题中反复使用标志性的术语“rewind”表明了目标的连续性（在像意大利这样的文化独特背景下），以及我们对既定研究技能、方法和机构背景有效性的信心（邓迪大学乔丹斯通的邓肯-一个在管理重大研究资助方面有着出色记录的机构）。REWIND ITALIA项目背后的推动力源于意大利在整个20世纪70年代是一个充满活力的录像艺术制作和展览中心的考虑。更值得注意的是，这项工作的国际影响力。一些与意大利影像中心有关的艺术家包括：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。这个早期的作品为录像艺术奠定了基础，因此，它的历史和社会、文化和经济环境是它崛起的特征，并最终被遗忘。具体而言，意大利REWIND将集中于三个中心的录象制作和记录活动：由玛丽亚·格洛丽亚·比可基在佛罗伦萨经营的艺术/磁带/22(1973-76)，这是欧洲第一个艺术家录象工作室；费拉拉的洛拉·博诺拉（Lola Bonora）经营的录像艺术中心（Centro Video Arte）（1972- 1994）是一个罕见的公共赞助录像艺术的例子，以及由保罗·卡达佐（Paolo Cardazzo）经营的威尼斯卡瓦利诺画廊（Galleria del Cavallino）。1974年至1981年间，画廊制作了一百多部录像，在几个（国际）国家展览中展出。此外，该项目还将考虑Luciano Giaccari的丰富录像带收藏，他的工作室970/2对使用新媒介进行艺术记录很感兴趣（例如，参见“电视作为记忆”项目，24小时不间断剧院，1968年6月2日瓦雷塞）。上述中心的活动在国际上只得到很少的曝光（一个例外是艺术/磁带/22展览，长滩，CA）。大学美术馆，2008)。到目前为止，还没有对上述经验提出批评性的概述。此外，这项研究也很紧迫，上面提到的先驱者（Bicocchi, Bonora, Cardazzo,Giaccari）已经退休。它们作为一种艺术形式对录像历史的影响，长期以来一直没有得到人们的认可，而这是它们理应得到的。

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.