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Campus' Closed-Circuit Slavko Kacunko Slavko Kacunko

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Campus' Closed-Circuit Slavko Kacunko Slavko Kacunko Campus' Closed-Ci rcu it Campus' Closed-Circuit Slavko Kacunko Slavko Kacunko Lr) oo oo f_E Die Uberwindung der empha- rischen Praktiken zwischen dem ln order to arrive at an impartial As we all know, the writing ai his- ==OC) Closet l- l- tischen 0pposition zwischen dem hermeneutischen Kontextuber- view of media art that derives its tory like 'directness' * is a C)(J - schen 13Etl (I)(l) ,spezifisch Medialen' und dem druss und semiotischer Kontext- pertinence from the spheres of construct. A discourse abou; the <t) a gerat oo ,historisch Gewordenen' ist eine euphorie. both media theory and art history, 'directness' of media from an (J (J br/Pr Voraussetzung fiir den unbefange- Das Historieschreiben ist ebenso it is essential to overcome the art-historical perspective mev -(n -u) auditit nen Blick auf die Medienkunst, wie die,Unmittelbarkeit' bekannt- emphatic opposition between what illuminate the conflux of technical (f_== o_ lung, t (\,EE (g der seine Kompetenzen sowohl lich eine Konstruktion. Ein Diskurs is 'specific to media' and what and human viewpoints and rrreigh (JO ftir die Bereich Medien- 'has aus dem der [iber die mediale,Unmittelbarkeit' become historical'. up the opportunities and the bildet. theorie wie auch der Kunstge- aus kunsthistorischer Perspektive A future history of media art will dangers brought about by their sowol schichte beziehen will. Eine krlnfti- kann das Ndherbringen von have to counter 'post-historical' convergence, even their mul,.:al deren ge Medienkunstgeschichte wird technischen und menschlichen apocalyptic paranoia and fantasies penetration, schen der,posthistorischen' End zeitpar a- Sichtweisen durchleuchten und die of abolition with a thesis of conti- The attempts made during trie So ist noia und den Aufhebungsfantasien Chancen und Gefahren ihrer An- nuity which does not construct early period of 'video art'to differ- des e eine Kontinuititsthese entgegen niherung und lnterpenetration 'pre-established harmonies' in entiate it from other media r;f des b setzen mtlssen, welche nicht abwagen. reverse gear, but develops tools technical reproduction were based ums' ,prdetablierte Harmonien' im Rrick- Die in der fruhen Zeit der ,Video- for the registration and reproduc- largely on the assumption that the Eigen wirtsgang konstruiert, sondern kunst' unternommenen Versuche tion of both the new and the old. specifics of 'video art' coincided Befrer Werkzeuge fur die Registrierung der Abgrenzung gegen andere The necessity for a fresh appre- exactly with the technical sp=cifics liegen und Wiedergabe von Neuem und reproduktionstechnische Medien hensron of history develops not of the video medium. Similariy Die C Altem gleichermaBen entwickelt. basierten meistens auf der Annah- least from the need for permanent motivated attempts to founc a nen \e Die Erfordernis zur Neuaneignung me, dass sich die Spezifika debate with new technologies. special aesthetics of video aimed zeitbe der Geschichte erwdchst nicht der ,Videokunst' mit denen des Within art history, the directness at the serious recognition of 'video den U zuletzt aus der Notwendigkeit Video-Mediums restlos deckten. of aesthetic experience - although art'were thus clearly restricied Anfan einer permanenten Auseinander- Damit wurde den ihnlich motivier- tried and tested'archaeologically' from the outset. The possibiiiiy gendr setzung mit den neuen Technolo- ten Versuchen, eine eigene - is liable to pass over the his- of feedback existing in videa gungs gien. Videoisthetik zu grrjnden, die auf toricity of art. The revelation of technolo gy can be viewed, with vor al keit Die Unmittelbarkeit isthetischer die Anerkennung der ,Videokunst' the "innocent eyg"t, a myth of certain reservations, as the u Erfahrung scheint - wenn auch gerichtet waren, im voraus the modern age, involves the risk specific quality, permitting the ,telek, ln der ,archaologisch' erprobt - innerhalb deutliche Grenzen gesetzt. Die in of a radical shift in the focus of simultaneous recording and show Circui der Kunstgeschichte die Ge- der Videotechnik vorhandene research towards the historicity of ing of images, sounds and move- -Perfc schichtlichkeit der Kunst tenden- Moglichkeit der Ruckkoppelung art institutions - which is an ments. Peter Campus' closeci- ziell zu verfehlen. Die Entlarvung kann mit gewissen Einschrankun- important component of, but circuit video installations based on ,instal tus vr des ,,unschuldigen Auges"l als gen als das Spezifikum dieser ultimately not a replacement for this principle offer a suitable ge, Mythos der Moderne birgt in sich Technik betrachtet werden, mit the analysis of works. experimental field for correspond' d gien die Gefahr einer radikalen Ver- deren Hilfe Bilder, Tone und The supposed opposites of ing theses and historical con';lu- r nicht schiebung der Forschungsakzente Bewegungsabliiufe gleichzeitig 'involvement' and 'reflection' in sions. cholo zugunsten der Geschichtlichkeit aufgenommen und wiedergegeben practice, and of data acquisition Closed-circuit describes a live und p der Kunstinstitutionen, die zwar werden konnen. Die darauf and processing in theory are transmission of audio visual SUng' ein wichtiger Bestandteil ist, aber basierenden C losed-Circuit-Video- reflected in prevalent art-historical signals resembling methi,d the Berrrt keinen installationen von Peter Campus practices located between an letztlich Ersatz fur die facilitated by radio and telev;sion: und C Werkanalyse bieten kann. bieten ein geeignetes Experimen- hermeneutic context aversion and the direct closed-circuit connsc- ten A Die vermeintlichen Gegensitze tierfeld fUr die entsprechenden a semiotic context euphoria. tion between apparatus tor recofi' die ki Annahmen (loud des,Sich-Einlassens' und,Reflek- theoretischen und histo- ing and broadcasting speal<e{ Einze tierens'in der Praxis und der rischen RLickschlusse. or monitorlprojector) arises bY Datenbeschaffung und -bearbei- Mii Closed-Circuit wird die Live- means of audito ry or visual feed' tung in der Theorie spiegeln sich Ubertragung von audiovisuellen back, which is, in turn, the br;sis in den kursierenden kunsthisto- Signalen beschrieben, wie sie for an amplification of the sigral' durch Radio und Fernsehen mog- lich geworden waren: Die direkte tf i rcrr it-Ve rbi nd ung zwi- June Paik, Bruce Nauman, Alan ln this wEy, live broadcasts and own and the younger generation his- Cbsed-C und Wiedergabe- Kaprow, Les Levine, Keith Sonnier their manipulation are made possi- of artists at the time of their schen Aufnahme- Moni- und Kunstlern aus dem E.A.T.- ble, even between loca- making. rt the serdt(LautsPrecher oder distant n entsteht durch eine Umfeld eingesetzt hatten. Fluxus, tions. For the recipient, the direct ln 1974 Campus described video iar /Proiektor) Rtickkopp- Happening, Performance, Kon- presence his own live video as "function ty auditive oder visuelle of the of reality" and tnical lung, die rhrerseits die Grundlage zeptkunst, neue Musik und experi- image and the relevant 'medium of saw an "extension of reality" veigh ftir die Verstdrkung des Signals menteller Film bezeichnen die reflection' is the most remarkable as the medium's fundamental ) bildet. Auf diese Weise werden krlnstlerischen Herkunftsstdtten, and at the same time the most potential2. His interest in spatially letr sowohl Liveubertragung als auch in denen die meisten Closed- disconcerting feature of the basic related work with video emerged, tual deren Manipulation selbst zwi- Circuit-Videoinstallationen dieser technology. according to the artist, from - schen entfernten Orten moglich. Zeit entstanden sind. Closed-circuit video installations, among other things - his study he So ist die unmittelbare Prdsenz Peter Campus gehorte zu denjeni- initially due to their temporal and of the Amencan lndians' temple iiffer- des eigenen Live-Videobildes und gen Kunstlern, die sich jenseits spatial effect, were a stimulating architecture, in which there are :f des betreffenden,Reflexionsmedi- der Gruppendynamik der frrihen field of artistic activity from the special visitors' paths as based ums'fur den Rezipienten das Videokollektive bewegten. Trotz- beginning of the 1970s. The pri- "instances of spatial experience". rat the Eigenartigste und zugleich dem nahmen seine Closed- mary focus was on their temporal The almost static electronic ided tsefremdlichste an der zugrunde- Circuit-Videoinstallationen bereits directness and their site-specific, 'images' conceived by Campus recifics liegenden Technik. in ihrer Entstehungszeit wichtigen 'telecommunicative' character. and completed by the viewer rly Die Closed-Ci rcuit-Vi deoi nsta llatio- Einfluss auf seine und die jtingere As a consequence, closed-circuit contributed to a breakdown in the la nen waren zundchst wegen ihrer Kunstlergeneration. video installations, -performances culturally traditional mind-body rimed zeitbezogenen und raumgreifen- Campus beschrieb 197 4 Video als and all other 'unstable' art forms dichotomy, which was manifest in ''video den Wirkung spdtestens seit eine ,,function of reality" und sah questioned the status of the the interplay between the viewer ted Anfang der 197Oer Jahre ein anre- in der,,Realitdtserweiterung" das traditional 'image', which - as a and his 'double'.s ilit/ gendes kunstlerisches Betdti- wesentliche Potenzial dieses result of new technologies such as Peter Campus''apprenticeship' gungsfetd. ) lm Mittelpunkt stand Mediums.2 Sein lnteresse an der video and holography - had been as an artist took place relatively ryitn vor allem die zeiiliche
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