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QUART ERLY - P.I. 31/10 /2019 Intern ationa l € 10, Chf 10,50 , UK £ 7,50 Poste Italian e S.p.a. Spedizione in Abbon amento Postale - 70% - LO/MI


The Art of Sailing

80m Dragon Col umbus Yachts brand of Palum bo Superyachts

• n° 2 0 • 2 0 1 9

NACRE ISSUE - n° 20 - 201 9 - € 10


the screens, inspiring emotion and providing intellectual stimulation

With installations and light sculptures, Video art is breaking out of




©SSABAP ph E. Giovinazzo

©Pipilotti Rist. Courtesy the artist, Hauser & Wirth and Luhring Augustine Pipilotti Rist, Sip my Ocean, 1996. Audio-video installation. (ph. Pipilotti Rist. Courtesy the artist, Hauser & Wirth and Luhring Augustine)

by Micaela Zucconi

t’s now 51 years since New York’s MoMA displayed for the first time the “Lindsay Tape (1967)” video by US artist with

S. Korean origins Nam June Paik as part of the landmark 1968 exhibition “The Machine as Seen at the End of the Mechanical

©SSABAP_ph F. Caricchia


Age”. Video art began to make its mark on the art scene and other proponents were emerging at the same time. With characteristic vision the MoMA began to acquire video works as early as the late 1970s, guided by the intuition of curator Barbara London. The collection now boasts over 1,600 video works. Over the years this artistic field has experienced rapid development, riding the wave of technological advances. Take, for example, the leap from the cathode ray tube, the old-style TV, to liquid crystal displays and today’s LED technology. At the MoMA all the old formats have been digitalised, a shift that has provided a great deal of work for media conservators. One of the pioneers of this cutting-edge vision of the nature of art is Italian artist Fabrizio Plessi. Born in 1940, he has worked since 1968 with installations, films and videotape. His light sculptures, often three-dimensional and created using advanced technology, are far removed from pure art. The elements of fire and water are recurring themes in Plessi’s work, on board the Admiral 54-metre yacht Sea Force One, for example. His works have an intense emotional impact, like those by the famous American artist Bill Viola, eleven years younger, which combine sound and images in movement. His works have played a key role in establishing video as a contemporary art form (Marina Abramovic, famous for her performance art, has worked with Viola). Many artists

Opening, teamLab, Phoenix himawari, 2017. Digital Work, single channel, Randomized video loop, on show at Every Living Thing: Animals in Japanese Art, Lacma, Resnick Pavilion, Los Angeles. Top right and above, Fabrizio Plessi, Plessi a Caracalla, 2019. Above, left, Pipilotti Rist, Sip my Ocean, video still, 1996, on display at the anthological show Åbn min lysning [Open My Glade] at the Louisiana Museum of Modern Art, Copenhagen


[ ART ON BOARD ] Courtesy Bill Viola Studio

Left, Bill Viola, Emergence, 2002, 11’40”, HD colour rear-projection video. 213 x 213 cm. Below, Bill Viola, The Crossing, Water, 1996, 10’57’’, video-audio installation. Both works on display at Rinascimento Elettronico, 2015, Palazzo Strozzi, Florence.Bottom, left, Shirin Neshat, Tooba, 2002, 12’01’’

Courtesy Bill Viola Studio

© Shirin Neshat, Courtesy the artist, Gladstone Gallery, New York / Brussels, Han Nefkens Foundation, Barcelona

E.Erkan Özgen (1971) displayed at the collective “At the Edges of Identity, Contemporary Videoart by the Han Nefkens Foundation” at the MAC in Lissone, on the theme of cultural identity. The artistic duo of Masbedo, Nicolò Massazza (1973) and Iacopo Bedogni (1970) have been working since 1999 in video art and installations on social themes, like the recent “Why Borders Change” at the ICA Milan, a reflection on the history and present of Sicily. The teamLab art collective of Tokyo has installed the teamLab Borderless Digital Art Museum on the artificial island of Odaiba, 10,000 square metres of dreamlike, phantasmagorical works


are working in this area, all with different approaches and communicative

where the spectator literally enters to take part. Video art has also become

intent, including some who have had recent exhibitions of their work – the

a target for private collectors. The list of famous collectors includes Josée

Swiss Pipilotti Rist (born Elizabeth Charlotte Rist, 1962), recently featured

& Marc Gensollen, who have transformed their home La Fabrique into

at Copenhagen’s Louisiana Museum with an exhibition of video and audio

an art centre open to all new initiatives, and Conrad & Isabelle Lemaître

installations and video sculptures entitled “Pipilotti Rist – Åbn min lysning

of Paris, video art collectors since 1996 and the instigators of the Studio

[Open My Glade]”, while Iranian Shirin Neshat (1957) and Kurdish artist

Collector Prize for video creation excellence. Their expertise has led

Courtesy in Between Art Film

Pipilotti Rist, Mercy Garden Retour Skin (from the Mercy Work Family), 2014. Audio-video installation, from the exhibition Åbn min lysning [Open My Glade], Louisiana Museum of Modern Art, Copenhagen. Bottom, E.Erkan Özgen, Purple Muslim, 2018, 16’28’’, on show at MAC di Lissone.

© Pipilotti Rist. Courtesy the artist, Hauser & Wirth and Luhring Augustine

Above, Masbedo, Blind Mirrors, video still, 2019. To side,

them to be chosen, along with Gensollen and others, for the commission selecting the works at the annual Loop event, held in Barcelona in November, a platform dedicated to studying and promotion of images in movement, founded in 2003, organiser of a fair and festival that has become a point of reference for the sector. To provide more information Emilio Álvarez and Carlos Durán, directors of Loop, have written a book called “I have a friend who knows someone who bought a Courtesy the artist and Han Nefken Foundation, Barcelona

video, once”, on the history of this type of collecting.


Profile for Platinum Media Lab

Issue_20_Art On Board - Special Effects  

Art On Board - Special Effects

Issue_20_Art On Board - Special Effects  

Art On Board - Special Effects