| Behálózott
test | Medializált test - Wired
Body | Mediated Body |
kurátor
| curated by: Nina Czegledy |
| A
válogatás az emberi test posztmodern látásmódjával
foglalkozó nemzetközi munkákból sorakoztat fel történeti
és kortárs példákat. Vizsgálatuk az új digitális
és kiterjesztett képalkotó technológiák orvostudománybeli
alkalmazásaira és implikációira, valamint mindennek
művészetbeli és közkultúrabeli továbbgondolásaira
egyaránt kiterjed. A tematikus program a Digitális
testek - Virtuális látványosságok című, több helyszínen,
különböző rendezvényeket magába foglaló rendezvénysorozathoz
kötődik. A Behálózott test | Medializált test videoprogram
olyan megoldásra váró kérdéseket jár körbe, mint
a testpolitika, az egyén tárgyiasítása, az emberi
testre vonatkozó etika, valamint az egyes klinikai
és kísérleti technológiák körüli viták, amelyek
a test mai társadalomban elfoglalt helyének újraértelmezését
segítik elő. |
This
selection focuses both on historical and contemporary
international examples of work dealing with the
postmodern notions of the human body. It explores
the interface between the applications and implications
of new digital and enhanced imaging technologies
in the medical science and the reflection upon their
meaning in the arts and popular culture. This program
is thematically linked to the Digitized Bodies -
Virtual Spectacles multi-site multi-component project.
Wired Body | Mediated Body addresses a series of
unresolved issues surrounding body politics, objectification
of the individual, bodily ethics and the discourses
around certain clinical and experimental technologies
that lead to the reinterpretation of the place of
the body within today's society. |
|
Judith
Doyle: The Last Split Second
|
1998 |
7:00 |
'the
last split second' is a provocative portrait of
physical trauma based on Toronto artist Andy Patton's
eloquent accounts of surviving a broken back and
the requisite medical treatments. The film is a
seamless weave of text, voice-over, computer animation
and /optical printing. 'the last split second' features
stunning imagery, perfectly suited to this tale
of sensory perception, with medical scans blending
into car wrecks. The effect is at once thought-provoking
and visceral, a breathtaking document of a terrible
event" Barbara Goslawski, TAKE ONE Magazine |
| Barbara
Konopka: Binary Notions |
1998 |
4:00 |
Konopka
chose the familiar layout of the computer screen
for the visual interface of her concept. Menus,
applications, flickering graphs are interchanged
with small windows of body images and fragments.
This electronic diary displays constantly splitting
frames determined by the aesthetics of computer
interface design. Beyond the body parts, political
words, linguistics, self-representation of the artist
as a cyborg are all appearing and reappearing in
this complex, yet poetic video. |
Sue
C. Rynard: 8 Men Called Eugene
|
1996 |
12:00 |
Eight
Men Called Eugene is a seductive and witty faux
documentary that unravels the work of eight genetic
scientists. Dr. Wanda A. Langton takes the viewer
on a rapid journey from the field's quiet origins
to its explosive implications in our present technological
era - creating an uncomfortable parallel between
a eugenic past and the genetic future. |
| Jennifer
Bozick-McCoy: Smaller Rooms |
1993 |
6:00 |
In
Jennifer McCoy's Smaller Rooms an extended convalescence
provokes an exploration into the secret life of
the body. An emotional, subjective rumination on
the healing process is contrasted with sterile medical
imaging sequences. These computer-generated images
function as metaphor for a consciousness that maps
the body but knows nothing of it. |
| Bjoern
Melhus: No Sunshine |
1997 |
6:15 |
A
short story about new bodies. Two infantile bodies
are floating in a cyberspace ball. They are simultaneously
connected with two subconscious bodies in the background.
The attempt of unification and metamorphosis is
interrupted by one part, meanwhile the other part
is liberated. A glance over the shoulder means destruction.
The sources for the soundtrack are fragments of
the childhood voices of early Michael Jackson and
Stevie Wonder songs. |
| Piotr
Wyrzykoswki: Watch Me |
1996 |
15:15 |
1.1
My body is the information I identify myself with.
1.10 Information is not only the transmission of
constancy but is also avantgarde.
1.10.1 I believe in information.
1.10.2 Information is a transformation agent.
1.10.3 Information as the binder of systems.
1.10.4 Information as an activity warrant
1.10.5 Information as the accomplishment of eternity.
1.1.1 Information not only maintains life but also
determines its new directions. |
| Francesca
da Rimini and Josephine Starrs: White |
1996 |
9:30 |
White
focuses on a womanís experience of madness, exploring
the language of madness to create a disturbing vision
of alienation, psychic extremes and transcendence.
A self-reflective text, meditating, fantasising,
exorcising, all from the space of a stark white
room, confining and vast. The fragmented psychotic
narrative consists of three overlapping voices,
English, Spanish and Italian, alluding to the relationship
between language, power and incarceration. |
| Natalia
Borisova: Infinity Evil |
1996 |
10:00 |
The
person examines his own body with the help of the
camera. The camera with the help of the person examines
itself. Two bodies -phisically (the person between
the camera and the screen) and technically (the
space between the camera and the screen) , in parallel,
face to face, are living on the screen. The person
in this case is taken as a unique physical object,
having a need for self examination. The camera as
a unique means to fix the subject of examination
in movement, acts simultaneously with the object
while it produces sounds. Both bodies have rich
experience as experimental objects of art, to be
looked upon as interesting, while at the same time
remaining somewhat mundane. |
| Chantelle
Tucker: Neurofeeedback |
1996 |
10:00 |
An
exploration of the mental languages experienced
by those who suffer from clinical depression. |
Diane
Nerwen: Under the Skin Game
|
1996 |
17:00 |
A
haunting documentary about governmental policy development
and use of Norplant for reproductive and social
control. |
| Justine
Cooper: Rapt |
1998 |
5:06 |
RAPT
-one of Cooper's bestknown and intriguing works-
was created using Magnetic Resonance Imaging scans
of Justine Cooper's full body. These scans were
used to create an animation and also an installation
piece. The body in RAPT quite literally becomes
the site of shifting, involving two parallel lines
of thinking. Transformation, metamorphosis and loss
are explored alongside the conceptual shiftings
of time and space, both precipitated and mediated
by technology. Ideas of representational space,
artificial space and metaphorical space are developed
as possible alternatives to sequential time which
no longer correlates to bodily states of change. |
