For the month of November in
2007
They include; Maarten Bertheux, a former deputy curator of Stedelijk Museum in Netherlands, Tohru Matsumoto, a chief curator at Tokyo National Museum of Modern Art in Japan, Raul Zamudio, a corresponding editor of Art Nexus as well as a independent curator in New York City, U.S.A, and Andreas Broeckmann, director of Transmediale.
Maarten explained the current situations of contemporary arts such as interventions of film, video jockey and media, and appearance of digital media. The most interesting topic was that of Raul Zamudio. He raised a point the rapid development of technology is causing difficulty to approach these technologies by the artists in the less developed countries resulting technical unbalance as well as other socio-political problems.
He made emphasis on the unification of public and private domain for the new media art domain which has easy access for the general public compared to the traditional genres such as paintings and sculptures. Among the speakers, Andreas Broeckmann was not able to attend the symposium due to the conflict of schedule. So just his statement was read out loud and organizers had hard time answering the tough questions. Probably the questioner meant to request a smooth presentation of delivering information from the organizers. Despite in-depth discussion of ‘Turn and Widen’ of media art was not present, it was a meaningful occasion to listen to the opinions of professionals from different continents. The overwhelmingly high numbers of participants for this symposium among the many international media art symposiums for the month of November in
Video Art Archive Network Forum
Recently the public’s interest on media has been growing and video art also receives much attention. Going along with this trend, the Alternative Space Loop has been proceeding with ‘Move on
The purpose of the forum was to provide an occasion for presenting a vision for new Asian media arts through various experiments of media arts and formation of new discourses. Also, by providing an occasion to present many Asian countries’ art works at one spot, examination of various images of current media art works based on similar and yet distinctive cultural foundations of different countries is sought after. Especially for this year, the investigation was concentrated on the possibility of Asian contemporary arts in digital multimedia environment created by technological development.
As the accompanying event to the main exhibition, ‘Video Art Archive Network’ Forum was preceded in two sections; ‘Status Quo of Each country’s Video Art and Archive, and Necessity of International Archive and its method,’ and ‘Reconsideration of Video Art’s Identity in the Time of Globalization, and Exploring the Possibility of Video Art’s Sociological Role.’
The first section began with the director Abina Manning’s introduction of a video art archiving project called ‘Video Databank’ which was started at Chicago University in USA in 1976. Currently ‘Video Databank’ possesses over 5,000 titles and 60% of them are actively distributed home and abroad. The thing ‘Video Databank’ considers as the most important element in preparing a title is the question whether the work is experimental or not. Therefore, most of the collections are on performance, feminism arts, and alternative media.
These collections are either distributed or rented to festivals, theaters, small theaters, museums, art galleries, colleges, TV stations, media centers, and libraries in many countries including
Australian director David Cranswick introduced archive agency called ‘d/Lux/meda/art’ which was evolved from research group on the relationship between Australian films and video art.
In the second section, Australian professor and author Ross Harley and Heiner Holtappels of ‘
