Wallgallery at 37th floor of The Red Apple Wijnbrugstraat 330 3011 XW Rotterdam
06 415 15 989 www.wallgallery.nl
Category: EXHIBITIONS
Hester Scheurwater @ Loop Festival Madrid Barcelona Spain
Curated by: Abina Manning Video Data Bank Chicago
Artists:
Dena DeCola / Karin E. Wandner, Five more minutes, 2005, 17’23’’
Quirine Racké / Helena Muskens, The Tower, 2001, 15’34’’
Sadie Benning, Living Inside, 1989, 5’10’’
Ximena Cuevas, El Diablo en la Piel (Devil in the Flesh), 1998, 5’
Miranda July, Getting Stronger Every Day, 2001, 6’30’’
Hester Scheurwater, Baby, 2006, 2’
http://www.loop-barcelona.com/index.php/festival/general_program/hush_internal_affairsr
@ ELECTRIC SHOTS 9 FEMINIST PERSPECTIVES IN VIDEO Eugenia Balcells, Itziar Okariz, Pipilotti Rist, Hester Scheurwater,Carmen Sigler, Hannah Wilke, Marina Núñez, Sadie Benning, Ximena Cuevas.
http://www.montehermoso.net/pagina.php?m1&m2&m3&id_p=217
http://www.saatchi-gallery.co.uk/blogon/2007/01/video_data_bank_at_moma_new_yo_1.php
Video art’s early history and development are currently being explored in several shows internationally, from the Pompidou’s traveling ‘Video Art 1965-2005′, now stopping at Sydney’s MCA, to MNCARS’ ‘First Generation’ (on through 2 April). Both of these exhibitions set their start in the mid Sixties, when the artform made its first widespread appearance (Andy Warhol first screened video as art in 1965), and present a historiography of the medium’s variety and polymorphous development over the next few decades.
One year in particular, 1976, often stands as a significant milestone in the history of video art and new media, not only because Ulay & Abramovic, Bill Viola, and other seminal figures in the related field of performance were embracing the medium as a way of recording their actions, fusing the two in unprecedented ways.
1976 also saw the establishment of LVA (London Video Art) in London and VDB (Video Data Bank) in Chicago. LVA was inspired by the ‘Video Show’ at the Serpentine Gallery in 1975, an exhibit which showcased US and UK artists working with video and made the need for an organisation that would support video art and artists locally imperative. VDB’s original remit was a bit smaller in scale. It was started at the School of the Art Institute of Chicago as a collection of student productions and interviews with visiting artists. At the same time, VDB codirectors Lyn Blumenthal and Kate Horsfield started conducting and archiving their own video interviews with women artists who were underrepresented critically in the art world. This art project, a peerless, definitive document of the times, of feminist history and of the new medium’s capacity for immediacy, led to VDB’s later role as one of the main video art distributors, starting in 1980. The project is ongoing – recent releases include videos by Miranda July, George Kuchar and Hester Scheurwater.
Still from Pixelvision video by Sadie Benning.
Taking place on the occasion of the publication of ‘Feedback, The Video Data Bank Catalog of Video Art and Artist Interviews’ and MoMA’s ‘The Feminist Future’ symposium, an exhibition is about to open at MoMA’s film department (25-31 Jan). ‘Feedback: The Video Data Bank, Video Art, and Artist Interviews’ will present screenings of video art and interviews with women in the arts drawn from the VDB archives. Over the past thirty years both collections have grown and VDB co-founders Horsfield and Blumenthal have annotated annotated the works extensively. For this presentation, interviews and videotapes were chosen to reflect women’s art making and the evolution of feminist theory over the past thirty years. Interviews are by Kate Horsfield and Lyn Blumenthal, and the videos are produced in the U.S. unless otherwise noted. The entire programme looks unmissable, with highlights such as the ‘Rainer Variations’ featuring Yvonne Rainer’s dance and performance works, interviews with Louise Bourgeois, Alice Neel and Lee Krasner, Ana Mendieta, Linda Benglis, Valie Export and Sadie Benning, and a long list of others (click here to view the entire schedule).
Valie Export.
Organized by Sally Berger, Assistant Curator, Department of Film; with Blithe Riley, Editor and Project Coordinator, On Art and Artists collection, Video Data Bank. Special thanks to Kate Horsfield, Director Emeritus; Tom Colley, Collections Manager; and Abina Manning, Interim Director, Video Data Bank; and the Lyn Blumenthal Memorial Fund.
FEEDBACK: THE VIDEO DATA BANK, VIDEO ART, AND ARTIST INTERVIEWS
25-31 Jan 2007
MoMA
11 West 53 Street, between Fifth and Sixth avenues
New York, NY 10019-5497
T: +1 212 708 9400
VDB Catalog
Lupe Nunez-Fernandez is former senior editor of ArtReview and is currently based in London and Madrid.
Bruises Hester Scheurwater in program
screening held at Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, Forum, 4th Floor
appelling / abseiling: videos about trust
A firm reliance; the condition and resulting obligation of having confidence transmitted by one to another; falling without thinking; unquestioning questions; a certainty about a future unknown; satisfying failure; competence rather than lack of benevolence; irrational devotion and love at first site. Would you trust a group of strangers to catch you?
BROOKLYN MUSEUM NEW YORK
screening held at Elizabeth A. Sackler Center for Feminist Art, Brooklyn Museum, Forum, 4th Floor
“appelling/ abseiling: videos about trust” connects a group of video artists whose work tackles intense and complicated ideas understanding relationships of trust. While addressing interpersonal relationships, the power dynamics between objects of disgust and longing, and the manipulation of language and performance, these artists also examine trust within themselves and the work they are presenting.
Artists Included:
Irina Botea
Hester Scheurwater
Lathem Zearfoss
Dani Leventhal
Amber Bemak
Emily Vey Duke and Cooper Battersby
Curated by Liz Rosenfeld, filmmaker and independent curator, and Sarah Giovanniello, independent curator and Research Assistant at the http://www.brooklynmuseum.org/eascfa/
Actting Out and Causing Trouble
At the Blanton, ‘Difficult Daughters’ Challenges Female Stereotypes
Deborah Hay and Bill Lundberg in Regina Vater’s Love Spaces
Blanton Museum of Art assistant curator Kelly Baum says the title for “Difficult Daughters,” a collection of films by emerging and established female artists opening this week, is a nod to Simone de Beauvoir’s 1958 autobiography, Memoirs of a Dutiful Daughter, an exploration of the expectations and prohibitions women faced in de Beauvoir’s generation. The Blanton’s “Daughters,” however, are anything but dutiful: In this show, the final installation in the museum’s “Projections” series of contemporary film and video works, the women deliver pieces that are deliberately provocative.
“Every one of these works challenges stereotypes and asserts female empowerment,” says Baum. “The films show women acting out and causing trouble. But they also demonstrate how women of different generations approach feminism.” The women chosen by Baum include two up-and-coming artists in their 20s and 30s, Melissa Longenecker of Los Angeles and Hester Scheurwater of the Netherlands, as well as a pair of veteran artists, Regina Vater (Austin) and Rosemarie Trockel (Germany). The artists’ methods of questioning female roles seem divided along generational lines: According to Baum, while the younger artists’ videos show a “more overtly transgressive” attack on traditional stereotypes, the older artists are more quietly revolutionary. “Yet each piece,” adds Baum, “has its own unique sensibility.”
The younger artists’ pieces tend toward the irreverent and the disturbing. Longenecker’s film, The Great Wide Fluorescence (2002), documents a performance in which she repeatedly vandalized an L.A. Kmart store. She jumped into bins of pillows, opened jars and ate from them with her fingers, knocked over displays, drank from soda bottles — all the while managing to evade the notice of store employees. Scheurwater’s Poster Girl, perhaps the most “difficult” of all the “Difficult Daughters” films, features a woman facing disturbing visions while another woman alternately joins and leaves her in this nightmarish environment. Dressed in panties and bras and dripping blood, the subjects seem simultaneously empowered and victimized, wounded and wounding.
Trockel and Vater’s pieces contribute a softer tone to the series. In Trockel’s A la Motte, a moth first devours a piece of cloth, then seems to recreate the material as the film runs backward. The film attempts to reframe skills like sewing and knitting, once seen as merely “women’s work.” Vater’s sadly nostalgic Love Spaces features a split screen, one side depicting dancer Deborah Hay in an odalisque pose, the other showing artist Bill Lundberg reading a newspaper. Caressing the edge of the frame, Hay attempts to bridge the gap between them; Lundberg ignores her.
“Difficult Daughters” shows concurrently with the Blanton’ exhibition “Transgressive Women,” a collection of works by female artists in (mostly) two-dimensional media. If ever there was a time to explore the art of maverick women, it’s this fall at the Blanton. 