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Artículos de revistas sobre el tema "Festival for Contemporary Video Art"

Autor: Grafiati

Publicado: 25 de julio de 2024

Última modificación: 31 de julio de 2025

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1

KARTSEVA, EKATERINA A. "SCREEN FORMS AT BIENNIALS OF CONTEMPORARY ART." Art and Science of Television 16, no. 3 (2020): 11–30. http://dx.doi.org/10.30628/1994-9529-2020-16.3-11-30.

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Video today is a popular tool for artists of postmodern, poststructuralist, post-conceptual orientations. These practices have not yet developed their economic model and have spread mainly through biennials and festivals of contemporary art, as the main form of their comprehension and display. At the same time, “video art”, “video installations”, “video sculptures”, “video performances”, “films” at the exhibitions are far from an exhaustive list of strategies, stating a cinematic turn in contemporary art, where videos are considered among the basic tools of a contemporary artist and curator. I

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Mukherjee, Madhuja. "Little cinema culture: Networks of digital files and festival on the fringes." Studies in South Asian Film & Media 10, no. 1 (2019): 23–40. http://dx.doi.org/10.1386/safm_00003_1.

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Abstract This article reflects on the contemporary digital turn that has transformed our audio-visual experiences fundamentally, and has affected mainstream control over production and circulation of data. Clearly, such conditions have reinvented the problematical relation between producer and receiver. In relation to such circumstances, the article focuses on marginal film festivals, especially the TENT 'Little Cinema International Festival' for experimental films and new media-art, held in Kolkata, India, since 2014. 'Little Cinema International Festival', on one hand, showcases internationa

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3

Chelliah Thiruchelvam, Cheryl. "Buddhi: A Legacy from the Hindu-Buddhist Past in Contemporary Malaysia: Budi." International Journal of Creative Multimedia 6, no. 1 (2025): 108–18. https://doi.org/10.33093/ijcm.2025.6.1.7.

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The ‘BUDI – Extension of Tradition’ art exhibition was organised in conjunction with the Ipoh International Art Festival in 2021 by the Perak State’s cultural agency, People of Remarkable Talents (PORT). Carried out from 10 to 26 December 2021, this exhibition was anchored on the theme of budi (Malay), derived from the Sanskrit word Buddhi. The collective works of this exhibition were from 50 local and international artists that comprised other activities such as workshops, dance performances, music, and cultural activities besides the artworks on display. This exhibition brought forth a colle

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4

Harbie, Putri R. A. E. "Curation and Presentation to Enrich Value on Intermedia Art in a Contamporary Art Exhibition." IMOVICCON Conference Proceeding 1, no. 1 (2019): 108–15. http://dx.doi.org/10.37312/imoviccon.v1i1.12.

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The moving image has evolved into a very common medium used in both narrative and non-narrative way, exhibited in a film festival or art exhibition. Narrative film nowadays distributed digitally and can be exhibited in both the big screen and small screen (such as mobile phone, laptop screen, mini projector) without possibly losing any storytelling value. While non-narrative film/video mostly exhibited in a special treatment to enrich the main message. The small screen was commonly used to present this medium in an art exhibition. Art manager has a responsibility to curate and presents the int

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5

Zarobell, John. "Global Art Collectives and Exhibition Making." Arts 11, no. 2 (2022): 38. http://dx.doi.org/10.3390/arts11020038.

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Art collectives come into existence for many reasons, whether to collaborate on art making or to generate a space for contemporary art outside of the established channels of exhibition and the art market. These efforts have been captured in recent exhibitions such as The Ungovernables, organized by the New Museum in 2012; Six Lines of Flight, which was launched at SFMOMA in 2013; and Cosmopolis I, organized by the Centre Pompidou in 2017. Artist collectives have received some scholarly attention, primarily as producers of artworks, but their exhibition-making practices have not been explored.

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Bakirov, Vil, and Dmytrii Petrenko. "Contemporary Ukrainian Visual Culture on the Way to the International Cultural Space." Perspektywy Kultury 41, no. 2/2 (2023): 91–110. http://dx.doi.org/10.35765/pk.2023.410202.08.

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The article is devoted to the visual culture of Ukraine since independence. It pays special attention to the trends and phenomena of contemporary Ukrainian visual culture that have entered the context of world culture through recognition on international cultural platforms (competitions, festivals, biennials, etc.). The considerations concern the development of various trends in contemporary Ukrainian art, which use various artistic media: photography, installation, performance and film. In particular, Ukrainian conceptual photography was the most interestingly represented by several generatio

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7

Couret, Nilo. "Under Fyre: Debt Culture in the Streaming Era." Film Quarterly 74, no. 1 (2020): 57–63. http://dx.doi.org/10.1525/fq.2020.74.1.57.

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FQ contributing editor Nilo Couret uses the Fyre app, the Fyre Festival, and the dueling documentaries about Fyre—Fyre Fraud and Fyre: The Greatest Party that Never Happened—to map the landscape of contemporary debt as it intersects with new media (i.e., mobile app development, social media advertising, and streaming platforms) and account for the theoretical and political implications of indebtedness. He concludes that streaming platforms are akin to social networks, video-sharing platforms, and online publishers both because of the relentless pursuit and monetization of our attention as well

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8

Barghouti, Dia. "Exploring Ibn ‘Arabi’s Metaphysics of Time and Space in Sufi Ritual: the ‘Issawiya Dhikr of Sidi Bou-Sa‘id." New Theatre Quarterly 36, no. 3 (2020): 237–48. http://dx.doi.org/10.1017/s0266464x20000445.

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This article examines the relationship between medieval Islamic philosophy and contemporary Tunisian Sufi ritual. Focusing on the metaphysics of time and space in the writings of the twelfth-century Andalusian saint Muhyiddin Ibn ‘Arabi, the author explores the dhikr ritual within the framework of Sufi ontology in order to highlight the relevance of Islamic intellectual history to the religious practices of the ‘Issawiya Sufi community. The dhikr is one example of many indigenous performance traditions that are part of the rich cultural life of Tunisia. These are spaces where adepts engage wit

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9

Walsh, Michael. "Happiness is Not Fun: Godard, the 20th Century, and Badiou." Journal of French and Francophone Philosophy 18, no. 2 (2010): 29–42. http://dx.doi.org/10.5195/jffp.2010.211.

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"Godard is the most contemporary of directors, one who has never set a film in the past. Yet since the 1990s he has produced a whole cycle of works whose tones are retrospective, memorial, elegaic. These include JLG/JLG:Auto-portrait du Décembre (1995), the much-discussed Histoire(s) du Cinèma (begun in 1988, completed in 1998) 2 x 50 Years of French Cinema (commissioned by the BFI for the centennial of cinema in 1995), The Old Place (commissioned by the Museum of Modern Art in 1999), On the Origin of the Twenty-First Century (commissioned by the Cannes Film Festival for the year 2000), Dans L

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10

Misek, Richard. "Trespassing Hollywood: Property, Space, and the “Appropriation Film”." October 153 (July 2015): 132–48. http://dx.doi.org/10.1162/octo_a_00230.

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In the two decades since the first exhibition of Douglas Gordon's 24 Hour Psycho (1993), “appropriation”—a mainstay of visual art since the mid-twentieth century—has also become a mainstay of experimental filmmaking and artists' film and video. Montages, collages, found-footage documentaries, essay films, and diverse other works made from pre-existing moving images now feature regularly at film festivals, in museum cinematheques, and in art galleries. Yet beyond the protective walls of these cultural institutions, a global copyright war is raging. Over recent years, media owners have become ev

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11

Beltran, Myra, Angela Conquet, Christo Dougherty, Athena Mazarakis, and Roselle Pineda. "New Research." TURBA 1, no. 2 (2022): 39–79. http://dx.doi.org/10.3167/turba.2022.010205.

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The Performance of Curation in WifiBody 2020 as Virtual BodyThe main goal of curating the initiative WifiBody Choreographers Competition for solo and duet forms, presented as part of the Cultural Center of the Philippines Choreographers Series, has been to discover emerging choreographers and offer them an educational and mentoring component. In migrating this live dance event during the COVID pandemic to an online platform, we asked, “Can we determine where the dance ends and the dance-film begins?” This critical text is indebted to Erin Branningan who, in her seminal book Dancefilm: Choreogr

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12

Tosheva, Angela, and Ivan Kerekovsky. "MICHAIL GOLEMINOV’S SOUNDSCAPES – A STEP AHEAD." ANNUAL OF ARTS 117 (October 24, 2024): 323–38. http://dx.doi.org/10.60059/gsu.fnoi.iz.117.323-338.

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The article portrays one of Bulgaria’s leading composers of the past few decades, who has received international recognition, particularly in the field of electroacoustic music. Michail Goleminov (1956-2022) composed scores for chamber and symphony orchestras. He was a multi-media artist and author of various programming applications, notation games, and generative software. He specialized in musical notation with long years of professional experience as an editor at the Vienna-based Doblinger Publishers and an active pianist and performer of free improvisations. Goleminov completed his musica

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13

Gavryliuk, Borys. "Characteristics of the development of mural art in Kharkiv." Bulletin of Lviv National Academy of Arts, no. 43 (February 25, 2020): 81–89. http://dx.doi.org/10.37131/2524-0943-2023-43-9.

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Background. In recent years, there has been an increasing interest in the development of mural art. Kharkiv is a special city, full of monumental urban buildings, heavy walls, and free space. This is a unique territory for the mural creating and street art development. Since the late 90s of the 20-century activists, street artists, and sometimes amateurs of the wall business were the first to create urban art objects with the experimental way, following the example of their western colleagues. The urban space of the city is a platform for the popularization and development of mural art without

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14

Fonseca, Danielle. "O DESTINO DA PALAVRA É TORNAR-SE ÁGUA." Arteriais - Revista do Programa de Pós-Gradução em Artes 10, no. 17 (2024): 15. http://dx.doi.org/10.18542/arteriais.v10i17.17253.

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Danielle FonsecaArtista Visual e Escritora; sua poética é composta a partir de elementos da literatura, poesia, filosofia, de música e da paisagem. Participa de exposições, projetos artísticos e literários. Em 2022 realizou o filme "Um céu partido ao meio" (16’33) que participou da exposição Raio-que-o-parta: Ficções do moderno no Brasil (SESC 24 DE MAIO/SP); Selecionado para Mostra Competitiva do Amazônia FiDoc 2022; Selecionado para o 30° Festival de Cinema de Vitória; Selecionado para a Mostra Sesc de CINEMA 2023; Selecionado para o Festaival de TV e Cinema de Muqui (ES) e Premiado na categ

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15

Belavina, Ekaterina M. "Current practices in French poetic discourse: Christian Prigent, Michèle Finck and Anne-James Chaton." Slovo.ru: Baltic accent 15, no. 3 (2024): 117–28. http://dx.doi.org/10.5922/2225-5346-2024-3-7.

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At the core of the contemporary literary process is the search for an effective extratextual communicative situation, which is especially relevant for books of poetry, whether in paper or electronic form. This article examines current practices of delivering poetic texts to readers through auditory perception. It focuses on contemporary French poets active between 1990 and 2022, representing three different groups and movements; in Russia, they are known only to a narrow circle of specialists. The study proposes a typology of in-situ and ex-situ strategies for delivering the sound of a poet's

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16

Güzelis, Cenk, and Anna Pompermaier. "RGB+D*(t) or the Spatial Manifold Image on Designing Virtual Spaces through Collective Live Volumetric Video Streaming." Architecture Image Studies 6, no. 2 (2025): 66–95. https://doi.org/10.62754/ais.v6i2.137.

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The article explores the evolution of social spaces from physical to digital realms, examining the role of Spatial Montage in creating immersive digital environments in Game Engines through live 3D scanning and streaming. By analysing the transition from traditional ‘third places’ to contemporary ‘fourth places,’ we discuss how social media platforms facilitate new forms of community making and social interactions, including the spatial screen dimension and transforming the home into a vibrant hub for online gatherings. Reflecting on a project that explores online streaming culture and the rol

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17

Brilli, Stefano, and Laura Gemini. "Trailers as mediatized performances: Investigating the use of promotional videos among Italian contemporary theatre artists." Journal of Italian Cinema & Media Studies 10, no. 1 (2022): 77–95. http://dx.doi.org/10.1386/jicms_00103_1.

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In the theatre sector, many companies, festivals and theatres have integrated promotional videos into their communication strategies. This recent development is undoubtedly due to the rise of social media and the increasing accessibility of video technologies, but also to the need for theatre companies to publicize their work in a media that combines creative autonomy with economic efficiency. Despite this widespread use, trailers in the performing arts have received little attention in academic literature. This article offers the first, exploratory study on the use of promotional videos in th

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18

Vazhynskyi, Serhii. "THEATER PR: PR STRATEGY IN THE MODERN THEATER ENVIRONMENT." Integrated communications 18, no. 2 (2024): 124–29. https://doi.org/10.28925/2524-2644.2024.1816.

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The article explores the importance and relevance of PR strategies in the contemporary theater environment. It examines the approaches and tools theaters can use to attract, retain, and engage with audiences in an era of rapidly changing technologies and cultural trends. The article reveals the importance of analyzing the need to understand the target audience and studying its expectations for further developing individual strategies. The article explores approaches to using social networks and the Internet for active audience interaction, particularly through regular publications, video conte

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19

Langer, Brian. "Video as art and the Australian international video festival." Continuum 8, no. 1 (1994): 259–66. http://dx.doi.org/10.1080/10304319409365645.

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20

Li, Pi. "Chinese Contemporary Video Art." Third Text 23, no. 3 (2009): 303–7. http://dx.doi.org/10.1080/09528820902954937.

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21

Bobula, Joanna. "Droga do domu." Politeja 20, no. 2(83) (2023): 209–28. http://dx.doi.org/10.12797/politeja.20.2023.83.10.

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GOING HOME: UKRAINIAN THEATRICAL ACTIVITIES IN THE PUBLIC SPACE AFTER 1991 ON THE EXAMPLE OF THE CONTEMPORARY ART PROFECT GOGOLFEST Along with gaining independence, in Ukraine festival tendencies were revived, including theatrical art: the exchange of experiences has been intensified, tendencies to present social- and historical topics forbidden during the USSR times along with the search for new means of bringing theatrical art closer to the audience became more visible and prominent. In the early 1990s, festival movement became key to Ukrainian theatre’s revival, enabling its adaptation to t

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22

Pieprzak, Katarzyna. "Art in the Streets: Modern Art, Museum Practice and the Urban Environment in Contemporary Morocco." Review of Middle East Studies 42, no. 1-2 (2008): 48–54. http://dx.doi.org/10.1017/s0026318400051518.

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Every summer, cultural festivals take place all over Morocco, and streets in towns and cities become animated scenes for the articulation of Moroccan contemporary culture. So animated, heterogeneous and pluralistic has this festival scene become that the semiofficial newspaper for the Islamist PJD party has called these street festivals “vectors of decadence” and performing-artist union officials have declared that they feel threatened by the “foreign invasion” of internationally-based diaspora groups. Recently, in a critique of these attitudes, the magazine Telquel reported that they are “sic

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Kechris, Dimitris. "MedPhoto Festival." Design/Arts/Culture 4, no. 2 (2024): 148–55. https://doi.org/10.12681/dac.35577.

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In 2016, during the escalation of the refugee/immigration crisis, an international lens-based festival named MedPhoto was initiated in Greece by a small grassroots collective in cooperation with the Contemporary Art Museum of Crete. MedPhoto derived from an encounter of people coming from diverse disciplines (photographers, activists, graphic designers, curators, journalists and scholars), whose objective has been to establish a socially engaged cultural community. Having Crete as its point of departure (since this island constitutes an emblematic crossroad of various civilisations and a pivot

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Abdallah, Monia. "World of Islam Festival (Londres 1976) : Naissance d’un nouveau paradigme pour les arts de l’Islam." RACAR : Revue d'art canadienne 39, no. 1 (2014): 1–10. http://dx.doi.org/10.7202/1026192ar.

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This essay traces the origin and stakes of the association between historical Islamic art and works of contemporary art by artists from Muslim countries. The idea that underpins this association—that there is a form of continuity between these works—first appeared in London in 1976 during the World of Islam Festival. This event laid the foundation for the understanding of Islamic art as a vehicle for cultural continuity, so that contemporary art by artists from Muslim countries came to be seen as an extension of Islamic art and became perceived by many as a contemporary Islamic art, that is to

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25

Ehrhardt, Amelia, Jenn Goodwin, and Cathy Gordon. "Is Dearth a Little or a Lot?" Canadian Theatre Review 187 (July 1, 2021): 20–25. http://dx.doi.org/10.3138/ctr.187.007.

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In the format of an interpolated Zoom transcript, former SummerWorks Curators Amelia Ehrhardt, Jenn Goodwin, and Cathy Gordon discuss the disciplining and undisciplining of SummerWorks Performance Festival between 2015 and 2019. The authors came to SummerWorks as specific curators of the dance and live-art streams and watched the festival grow from being a theatre-focused festival known to invite other art forms to a performance festival focused on a multidisciplinary perspective. Ehrhardt, Goodwin, and Gordon discuss the festival’s transition and specific works that exemplified their curatori

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Rovner, Anton А. "The Transformation of a Music Festival in St. Petersburg “The World of Art. Contrasts”." ICONI, no. 2 (2019): 159–71. http://dx.doi.org/10.33779/2658-4824.2019.2.159-171.

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The article presents the history of an extraordinary music festival organized in St. Petersburg by two composers Igor Rogalev and Igor Vorobyev. The festival was fi rst called “From the Avant-garde to the Present Day,” subsequently “From the Avant-garde to the Present Day. Continuation,” and during the last three years — “The World of Art. Contrasts.” This festival was founded in 1992, and its aim was to create a venue for performance of music by contemporary composers and representatives of the “forgotten generation” of the early 20th century Russian avant-garde movement, such as Nikolai Rosl

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27

Syka, Rachel. "Defining Art in the Gozo International Contemporary Arts Festival." Southern Anthropological Society Proceedings 42, no. 1 (2013): 179–97. http://dx.doi.org/10.56702/mpmc7908/saspro4201.8.

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This chapter explores the role of identity, place, and origin of the artists in the Gozo International Contemporary Arts Festival in Gozo, Malta. Based on research conducted in July 2010 for a summer field school in sociocultural anthropology, I draw on conversations with several of the artists showing their work, as well as interactions with local organizing officials, arts instructors, and Gozitan artists and craftspeople not directly involved in the exhibit. I argue that the event is a space in which central questions of Gozitan identity are actively addressed and negotiated, focusing parti

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Adams, Jeff. "Editorial: The Liverpool Biennial Festival of Contemporary Art 2010." International Journal of Art & Design Education 29, no. 3 (2010): 224–27. http://dx.doi.org/10.1111/j.1476-8070.2010.01667.x.

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Springgay, Stephanie. "Corporeal Pedagogy and Contemporary Video Art." Art Education 61, no. 2 (2008): 18–24. http://dx.doi.org/10.1080/00043125.2008.11651137.

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Perkins, Matthew John. "Documentary Codes and Contemporary Video Art." International Journal of the Humanities: Annual Review 8, no. 4 (2010): 177–82. http://dx.doi.org/10.18848/1447-9508/cgp/v08i04/42896.

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31

Jitman, Suwapa. "Borneo International Festival of Arts (BIFA): Rejuvenating a City through an Art Festival." International Journal of Business Events and Legacies 3, no. 2 (2025): 56–67. https://doi.org/10.63007/alij1047.

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The article delves into the transformative role of the 3-day inaugural Borneo International Festival of Arts (BIFA) held in July 2024 in Miri, Sarawak. As an industry-focused case study, this article showcases how BIFA transcended its role as an art festival to become a catalyst for cultural preservation, community engagement, and sustainable development. The event aligns with Sarawak’s Post-COVID Development Strategy 2030 (PCDS 2030) and the UN Sustainable Development Goals (SDGs), offering valuable insights for practitioners in cultural event planning and community revitalization. Featuring

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Ozoliņš, Gatis. "CREATIVITY OF CONTEMPORARY DIEVTURI GROUPS AS A CULTURAL POLITICAL DISCOURSE." Via Latgalica, no. 2 (December 31, 2009): 39. http://dx.doi.org/10.17770/latg2009.2.1609.

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Dievturība (dievturi - "God keepers", "people who live in harmony with God") is a newly created religious tradition having appeared in the second part of the 1920s – 1930s, its most essential source includes materials of Latvian folklore and folk traditions. These are interpreted by construing a religious ethical theory and creating a religion which is alternative to Christianity, with its own doctrine and rituals, and the conception of Latvianness in culture and politics. Latvianness is the most essential concept of cultural politics to which all activities of the dievturi are subjected (exal

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33

CHEN, Jiamiao. "The Interruption and Reverberation of the Video Art: An Overview of Video Art of the Annual of Contemporary Art of China (2023)." Advances in Art Science 1, no. 1 (2024): 72–78. https://doi.org/10.48014/aas.20241117001.

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By combing 329 video art exhibitions and documents in the archives of Chinese contemporary art in 2023, this paper reviews the development context and theme exploration of video art in this year, especially focusing on the diversity of video art in art creation and display. In multiple exhibitions, artists continue to explore the understanding of time and movement in video art, highlighting the difference and innovation between video works and traditional film and television language. More works explore the relationship between art censorship and social change, the vulnerability of individuals

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Shedko, I. I. "Video Game Art Styles." Art & Culture Studies, no. 4 (December 2021): 382–95. http://dx.doi.org/10.51678/2226-0072-2021-4-382-395.

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The article examines the graphic styles that have arisen in the video game industry due to the technical features and development of this media. These styles are widely used and starting to go beyond the industry into the field of contemporary art. Despite the fact that pixel art is mainly used in the creation of video games, it has already become an independent form of visual style. Contemporary artists such as the Russian digital artist and designer under the pseudonym Uno Morales and the artist Natalya Struchkova turn to the pixel style when creating their works. Like the pixel art, voxel g

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35

Pidlypskyi, Andrii, and Oleksandr Aksonov. "Festival and Competition Movement in the Sphere of Folk-Stage Dance in Ukraine Through the Prism of Contemporary Art Studies Thought." Dance Studies 5, no. 1 (2022): 68–77. https://doi.org/10.31866/2616-7646.5.1.2022.261613.

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The purpose of the research is to analyze the current trends in the art-historical understanding of the folk-choreographic festival and competition movement in Ukraine. Research methodology. Methods of analysis and synthesis, comparison, and theoretical generalization are applied. Scientific novelty. The main aspects of consideration of the festival and competition movement in the field of folk-stage choreography of Ukraine in modern Art Studies are revealed. Conclusions. Among the numerous scientific works of domestic theoreticians and practitioners on the problems of

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Lenssen, Anneka. "“Muslims to Take Over Institute for Contemporary Art”: The 1976 World of Islam Festival." Review of Middle East Studies 42, no. 1-2 (2008): 40–47. http://dx.doi.org/10.1017/s0026318400051506.

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The terms “Islamic” and ‘Arab” are not ideal instruments for classifying modern or contemporary art, for they are meta-categories that can variously encompass Muslims and non-Muslims, and Arabs and non-Arabs. Nonetheless, as historians of modern art in Islamic regions, we seem to have inherited a longstanding commitment to Islamic art as an epistemologically unique practice that produced limitless abstract patterns and other “non-Western” visual expression. It is time to move beyond such overburdened lineages. In this paper, I aim to historicize the formulations of a specific Arabo-Islamic aes

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Chepalov, Oleksandr. "Dance Party on the Banks of the River Isar (XVIII International Contemporary Dance Festival Dance 2023 in Munich)." Dance Studies 6, no. 2 (2023): 173–90. https://doi.org/10.31866/2616-7646.6.2.2023.295183.

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<strong>The purpose of the article </strong>is to identify repertoire trends and stylistic features of contemporary dance forums on the example of the XVIII International Festival DANCE 2023 in Munich. <strong>Research methodology. </strong>While maintaining the old tools (academic criteria for analysing the overall development of world dance culture), the conceptual and categorical apparatus of art history and cultural studies is updated to support a scientific strategy that corresponds to postmodern and post-postmodern changes in culture in general. <strong>Scientific nov

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38

Томсон, О. И., and А. В. Дамницкая. "Video Art as Experimental Type of Artistic Practice of Contemporary Art." Scientific Papers of St Petersburg Academy of Fine Arts, no. 69 (July 9, 2024): 90–104. http://dx.doi.org/10.62625/2782-1889.2024.50.91.007.

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В статье исследуется одно из самых динамично развивающихся направлений в современном искусстве – видеоарт. Как экранное искусство, он эволюционировал, наследуя язык кино и отчасти телевидения. Поскольку видеоарт включает в свою сферу многообразие художественных практик, изобретенных задолго до его появления (в том числе основоположниками художественного кино), он несет в своей концептуальной основе феномен невозможности четкой классификации и устоявшаяся терминология по сей день отсутствует. Рассмотрены наиболее выразительные, по мнению авторов, художественные практики, используемые при создан

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Kaltenecker, Martin. "Festival d'Automne 2013." Tempo 68, no. 268 (2014): 85–88. http://dx.doi.org/10.1017/s0040298213001782.

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Since 1972, the Parisian Festival d'Automne has organised dozens of events every year in the field of theatre, dance and music. The list of premieres is impressive, and comprises all the major names in the realm of contemporary art. The concerts represent a kind of anthology of recent outstanding achievements, combined with commissions from younger composers, and a recapitulation of important works of twentieth-century music which may be mentioned in every music history but are rarely performed: this year, for instance, featured Karlheinz Stockhausen's Trans. Offering a precious and vital comp

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Li, Xiaonan, and Shuyuan Tian. "Concept and Medium: China’s First Video Art Piece and Zhang Peili’s Early Artistic Creation." Art Frontier 2, no. 4 (2025): 52–64. https://doi.org/10.64212/ddww1339.

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This paper takes China’s earliest video artwork 30×30 and the early works of video artist Zhang Peili (張培力) as a foundation to study and explore the relationship between the origin of Chinese video art and the modern art movement in the 1980s. With the language of compulsive repetition Zhang Peili shifted his artistic creations from painting to video. The logic of conceptual art was pivotal in the early development of video art, and was further enriched through the exploration of the media language of video art, becoming the cornerstone for contemporary Chinese video art.

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Baydina, Darya Vladimirovna. "Contemporary Dance and Video Art: Experiments with Movement, Plasticity and Video." Communications. Media. Design 9, no. 3 (2024): 103–17. https://doi.org/10.17323/cmd.2024.22632.

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This research paper examines the intersection of contemporary dance and video art, with particular attention to the experiments that have arisen as a result of the interaction of these two artistic phenomena. The article discusses the topics of movement, plastic, video, digital technologies. Based on documentary video recordings of dance performances and performances, we can trace how new media are actively included in dance works, and thereby give rise to new artistic practices in modern choreography. The report examines the experiences and ways in which dance artists, choreographers and perf

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42

Rutherford-Johnson, Tim. "Only Connect Festival of Sound 2017, Oslo." Tempo 71, no. 282 (2017): 87–89. http://dx.doi.org/10.1017/s0040298217000675.

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In London the bank – as a building, its symbolism and its position within the cityscape – is sacrosanct. In Oslo banks become arts venues. Although it is moving soon to new premises being built further up the waterfront, the National Museum of Contemporary Art is currently housed in a former bank. A few blocks away is Sentralen, a relatively new, multi-purpose performance arts space, meeting place, restaurant and bar.

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Staruseva-Persheeva, Alexandra Dmitrievna. "Video Art: “A White Cube” or “A Black Box”?" Journal of Flm Arts and Film Studies 6, no. 4 (2014): 114–23. http://dx.doi.org/10.17816/vgik64114-123.

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Video art is a hybrid, combining features of both contemporary art as well as screen arts. It brings together different ways of perception working both in a manner of a movie which transfers the viewer into virtual daydreaming (Matthew Barney, Steeve McQueen), and in a manner of a painting or sculpture which gives a viewer some intense corporal experience (Tony Oursler). Accordingly, there are two ways of presenting video art: in a white cube and a black box. In 1970-s video art used to be presented in white cubes of contemporary art galleries where they nailed the screens right to the wall. I

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Leuzzi, Laura. "Representation and Identity in Contemporary Women Artists’ Video." Arts 12, no. 2 (2023): 42. http://dx.doi.org/10.3390/arts12020042.

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This essay is an initial study that examines selected contemporary video artworks addressing identity and representation by contemporary Italian women artists. The author shows how these women artists seek to avoid the objectification and sanitisation of the traditional iconographies involving women in patriarchal Catholic systems. Selected works by Elisabetta Di Sopra, Francesca Fini, and Mariateresa Sartori are discussed by comparing elements from works by earlier generations of feminist video artists, such as Pipilotti Rist, Elaine Shemilt, and Catherine Elwes. Drawing on theories of both v

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Zhao, Xing. "Reshaping Sacred Spaces: Experimental Video Installation Art in Multireligious Venues." Advances in Humanities Research 9, no. 1 (2024): 69–76. http://dx.doi.org/10.54254/2753-7080/9/2024112.

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In contemporary Europe, the dialogue between contemporary art and religion is becoming increasingly frequent. It has become a widespread phenomenon in France to exhibit contemporary art installations and works in religious venues, such as monasteries, chapels, churches, temples, and synagogues. Meanwhile, within a globalized context, religious spaces in China are also transforming toward more diverse uses. Video installation, as a rapidly evolving and highly significant branch of contemporary art, offers a specific avenue for exploring this trend due to its unique expressive approach, presenta

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Sweed, Yasmin Said, Amira Salah elden Ahmed, and Wafaa Ibrahim. ""A graphic study of visual identity in contemporary art advertising media" (Downtown Contemporary Arts Festival)." Pharos International Journal of Arts and Design 02, no. 01 (2025): 265–73. https://doi.org/10.21608/pijad.2025.437617.

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Maravić, Manojko. "Relacije umetnosti i video igara / Relations of Art and Video Games." AM Journal of Art and Media Studies, no. 1 (January 15, 2012): 93–104. http://dx.doi.org/10.25038/am.v0i1.12.

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When discussing the art of video games, three different contexts need to be considered: the 'high' art (video games and the art); commercial video games (video games as the art) and the fan art. Video games are a legitimate artistic medium subject to modifications and recontextualisations in the process of creating a specific experience of the player/user/audience and political action by referring to particular social problems. They represent a high technological medium that increases, with practically each new commercial game, the aesthetic potential of audio-visualperformances and includes m

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Valkovsky, Anton V. "Festival Movement in Volgograd in 1980s - 2000s: the Lineage of Continuity." Observatory of Culture, no. 5 (October 28, 2015): 121–27. http://dx.doi.org/10.25281/2072-3156-2015-0-5-121-127.

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The article analyses the lineage of continuity and interaction and brings out the commonalities, trends and patterns in the development of the festival movement in Volgograd during the three decades by the example of contemporary art festivals. It highlights the main functions of festivals in the region as well.

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LOGACHOVA, Bella. "MEANS OF VIDEO ART: KHARKIV PROJECTS «IN THE DARK» AND «LIUTYI»." HUDPROM: The Ukrainian Art and Design Journal 2023, no. 2 (2023): 115–29. http://dx.doi.org/10.33625/hudprom2023.02.115.

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The article examines the use of moving image and video practices as a means of visual activity in the cultural and artistic exhibition environment. The analysis is based on the influence of the visual in the context of social and contemporary art. This problem is raised in the theory of Ukrainian art criticism about Ukrainian video art in a visual way and represents the testing of art projects. The aim is to analyze and define the segments of visual activity of Kharkiv video art using the examples of the projects In the Dark and Liutyi. The analysis of sources and recent publications has revea

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Brown, Rebecca M. "A Distant Contemporary: Indian Twentieth-Century Art in the Festival of India." Art Bulletin 96, no. 3 (2014): 338–56. http://dx.doi.org/10.1080/00043079.2014.889529.

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