Hybrid Stories: From the EMST collection
Jun 27, 2013 - Sep 15, 2013
The National Museum of Contemporary Art (EMST) presents from the 27th of June until the 15th of September 2013 the Hybrid stories, from the EMST collection, an exhibition of 14 works, of video art and film, by acclaimed artists such as Robert Wilson, Rebecca Horn, Gary Hill, Jean 鈥揕uc Godard, among others.
This particular selection of works combines the other aspects of the new narrativity which formed during the 70s when artists chose video as their new medium of recording or started undermining the established cinematic practices. From a medium of recording, video became in the hands of these visual artists an exceptionally flexible and expressive instrument. Through the hybrid character of the produced artworks, in which painting, sculpture, music, theatricality, cinematic narrative and television are brought together, one recognizes the concerns of contemporary aesthetics in relation to the correspondence of the arts of space and time and also the realization of the demand for the synthesis of the arts.
In his ritualistic work Deafman Glance, a televised adaptation of his five-hour 鈥渟ilent鈥� opera, Robert Wilson, intersects theatricality with visual arts. Rebecca Horn鈥檚 films integrate (and redefine) her sculptural world, her performances and her body pieces into the 鈥渞eality鈥� of the cinematic narration. Jean-Luc Godard along with Anne-Marie Mieville analyze the political economy of personal and mass media communications in a provocative critique of the power of media images in contemporary culture and everyday life. In the works of Gary Hill the viewer observes the passage from the pictorial use of the medium to the artist鈥檚 own linguistic-centered games. Dimitris Kozaris draws his material upon hundreds of neglected 鈥渟paghetti鈥� western movies. He parodies not only the 鈥渓ow鈥� products of mass culture but to a much greater degree, he criticizes the position of the contemporary artist, who erects communication networks through deconstructionist activities. In the cross-section of the cinematographic and photographic storytelling, the work of George Drivas which also integrates the written word, sound, even architecture, detects the boundaries and the relations between reality and fiction, objective testimony and aesthetic construction.
This particular selection of works combines the other aspects of the new narrativity which formed during the 70s when artists chose video as their new medium of recording or started undermining the established cinematic practices. From a medium of recording, video became in the hands of these visual artists an exceptionally flexible and expressive instrument. Through the hybrid character of the produced artworks, in which painting, sculpture, music, theatricality, cinematic narrative and television are brought together, one recognizes the concerns of contemporary aesthetics in relation to the correspondence of the arts of space and time and also the realization of the demand for the synthesis of the arts.
In his ritualistic work Deafman Glance, a televised adaptation of his five-hour 鈥渟ilent鈥� opera, Robert Wilson, intersects theatricality with visual arts. Rebecca Horn鈥檚 films integrate (and redefine) her sculptural world, her performances and her body pieces into the 鈥渞eality鈥� of the cinematic narration. Jean-Luc Godard along with Anne-Marie Mieville analyze the political economy of personal and mass media communications in a provocative critique of the power of media images in contemporary culture and everyday life. In the works of Gary Hill the viewer observes the passage from the pictorial use of the medium to the artist鈥檚 own linguistic-centered games. Dimitris Kozaris draws his material upon hundreds of neglected 鈥渟paghetti鈥� western movies. He parodies not only the 鈥渓ow鈥� products of mass culture but to a much greater degree, he criticizes the position of the contemporary artist, who erects communication networks through deconstructionist activities. In the cross-section of the cinematographic and photographic storytelling, the work of George Drivas which also integrates the written word, sound, even architecture, detects the boundaries and the relations between reality and fiction, objective testimony and aesthetic construction.
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The National Museum of Contemporary Art (EMST) presents from the 27th of June until the 15th of September 2013 the Hybrid stories, from the EMST collection, an exhibition of 14 works, of video art and film, by acclaimed artists such as Robert Wilson, Rebecca Horn, Gary Hill, Jean 鈥揕uc Godard, among others.
This particular selection of works combines the other aspects of the new narrativity which formed during the 70s when artists chose video as their new medium of recording or started undermining the established cinematic practices. From a medium of recording, video became in the hands of these visual artists an exceptionally flexible and expressive instrument. Through the hybrid character of the produced artworks, in which painting, sculpture, music, theatricality, cinematic narrative and television are brought together, one recognizes the concerns of contemporary aesthetics in relation to the correspondence of the arts of space and time and also the realization of the demand for the synthesis of the arts.
In his ritualistic work Deafman Glance, a televised adaptation of his five-hour 鈥渟ilent鈥� opera, Robert Wilson, intersects theatricality with visual arts. Rebecca Horn鈥檚 films integrate (and redefine) her sculptural world, her performances and her body pieces into the 鈥渞eality鈥� of the cinematic narration. Jean-Luc Godard along with Anne-Marie Mieville analyze the political economy of personal and mass media communications in a provocative critique of the power of media images in contemporary culture and everyday life. In the works of Gary Hill the viewer observes the passage from the pictorial use of the medium to the artist鈥檚 own linguistic-centered games. Dimitris Kozaris draws his material upon hundreds of neglected 鈥渟paghetti鈥� western movies. He parodies not only the 鈥渓ow鈥� products of mass culture but to a much greater degree, he criticizes the position of the contemporary artist, who erects communication networks through deconstructionist activities. In the cross-section of the cinematographic and photographic storytelling, the work of George Drivas which also integrates the written word, sound, even architecture, detects the boundaries and the relations between reality and fiction, objective testimony and aesthetic construction.
This particular selection of works combines the other aspects of the new narrativity which formed during the 70s when artists chose video as their new medium of recording or started undermining the established cinematic practices. From a medium of recording, video became in the hands of these visual artists an exceptionally flexible and expressive instrument. Through the hybrid character of the produced artworks, in which painting, sculpture, music, theatricality, cinematic narrative and television are brought together, one recognizes the concerns of contemporary aesthetics in relation to the correspondence of the arts of space and time and also the realization of the demand for the synthesis of the arts.
In his ritualistic work Deafman Glance, a televised adaptation of his five-hour 鈥渟ilent鈥� opera, Robert Wilson, intersects theatricality with visual arts. Rebecca Horn鈥檚 films integrate (and redefine) her sculptural world, her performances and her body pieces into the 鈥渞eality鈥� of the cinematic narration. Jean-Luc Godard along with Anne-Marie Mieville analyze the political economy of personal and mass media communications in a provocative critique of the power of media images in contemporary culture and everyday life. In the works of Gary Hill the viewer observes the passage from the pictorial use of the medium to the artist鈥檚 own linguistic-centered games. Dimitris Kozaris draws his material upon hundreds of neglected 鈥渟paghetti鈥� western movies. He parodies not only the 鈥渓ow鈥� products of mass culture but to a much greater degree, he criticizes the position of the contemporary artist, who erects communication networks through deconstructionist activities. In the cross-section of the cinematographic and photographic storytelling, the work of George Drivas which also integrates the written word, sound, even architecture, detects the boundaries and the relations between reality and fiction, objective testimony and aesthetic construction.
Artists on show
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