television as art by Milan Atanaskovic /
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2013/09/28 - 2013/10/05

DescriptionThe concept
The idea base if project is that to evolve it is necessary to understand what of past must be once and for all archived. In this sense, to call 100 videoartists to interpret anyone a year of the past century, besides to constitute a really global narration of 1900s, rapresent an attempt to processing the past, not by coincidence entasted to artists, and not by coincidence videoartists - due the moving imagine (cinema, television, web) is one of characterising elements of 1900s.
Maybe never like videoart, an art has been so intimately close to languages of contemporary, at their grammar and syntax. And the progressive switchover to digital of any expressive form by images, render always more subtle the wall that separate the artistic use of medium by all other uses.
In this sense, videoart can reasonally be consider like the form of art more inner at XXI century, and in this - hence - gifted of more suitable communicative tools for comparison on this crest between the two millennium. For the same reason, is even - potentially - that in prospect will can exercise a more significant influence on shapes of communication.
To approach, through an artistic and plural look, the history of 1900s, therefore want be - at same time - a coral and visionary narration of century, its new reading in an artistic key, its interpretation and elaboration. Avoiding from a historiographical or political look, for its own nature partisan, and resorting to artists look instead, subjective and partial but not partisan, the project want exite a collective consideration on near root of our present.
And absolutely freedom of any artist, which the only bond will be to focalize her/his own work on a certain year, presumably will bring with itself a capability of unsettling, and at same time of re-alignment, of our view of century.
100x100=900 also call the artists to experiment a different context for their own production: indeed, even if interpretative freedom is strongly solicited, is plain - in primis at involved artists - that global vision of artworks will determine a meta-layer of reading, that include and overcome that of any artwork.
This consciousness is highly probable that - even if under unpredictable shapes - will reflect itself on creative process. At same time, this is the first time that a similar project is tryed, at least for videoart, and then is an experiment itself.
With absolute awareness of enormous differences, the inspiring model of project should empathize with Terræ Motus, where Lucio Amelio calls some artists to intervene - exactly in a global way - on an event of tragic greatness like earthquake.
At end of project, will be published a catalogue. Is our intention to cut a closed number of young art critics in this publication, preferably of different geographical and cultural origin.

Our piece will be the finale in a piece featuring 100 video artists from around the world creating a narrative of a century (1900s) The piece is celebrating the anniversary of 50 years of video art. 2013 is the 50th anniversary of video art (dated from a Nam June Paik video installation in Germany) which is generally considered the birth of videoart.

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