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Performance Art Videotapes SEPT-OCT 1979 PERFORMANCE ART VIDEOTAPES The notion that the camera (filmic, photo­ exotique ' which combines both a live perfor­ EDITED VERSION considers a body of perfor­ graphic and video) is a neutral, transparent mance and documented events. mances whid-i are developed primarily during device which faithfully records reality has post produ~tion, especially in editing. Classic been increasingly cha! lenged. The frame, Tt:ie· second category FOR THE CAMERA tapes of this genre are 'Vertical Roll' (1972) wfoch exclude~ m o re than it in ~ l~de ~m-arks considersanother body oT iiiiork in which the by Joan Jonas and 'Suicide Sutra'(l974) by Les out a selective process that is more subjective role of the camera becomes pivotal. In the case Levine (which records and transforms a than objective. of Reindeer Werk's 'Yeck's Garden'(l976) and reading by John Giorno). It ha~ proved more difficult, however, to John Mitchell's 'Born Again'(l977), the only In more recent work Nam June Paik re-presents recognize that the presence of a recording audience is that reached through the camera. and transforms performance by M ::~rce device; whether it is the photographic or video This "private" relationship and performer is Cunningham in an extraordinary tape that camera, is not only modifying the way in which . fully developed in Lily Eng's 'Defending The challenges our notions of both the process of we per.cieve "reality" ,'but also the way in Motherland' (1979). recording, and performance itself. ( Merce which we organize events. by Merce by Paik, 1979). We seem more ready to recognize ·manipulation The final tape in this section is one in search of (camera) events in the domain of politics of a mis-label. It will probably be called New than art. _Wave Video. 'Deviate Unit'(l979) was produced Increasingly, however, art is· as designed for by Daniel Dion from Studio Z in Montreal. documentation as the poltical personality is Again, through post production (hand holding designed for media-charisma. reel to reel tape during dubbing to create This particular exhibition, PERFORM, con - slow motion effects) Dion exploits distortion siders the way in which performance art is inherent in the recording process. being transformed by the video camera which records it. The final section of this exhibition Four catagories are considered; DOCUMENTS, INTEGRATED VIDEO considers an important FOR THE CAMERA, EDITED VERSION and body of work in which the v ideo camera and INTERGRATED VIDEO. monitor are not simply a recording device but a functional part of the performance, a In some senses these categories reflect a landscape in which the artist operates. relationship between video and performance In the earliest tapes in this section, 'Media which has evolved during the last decade. The Burn'(l975) by Ant Farm, the video monitors divisions, however, are not chronological. are both symbolic and architectural. In Some of the tapes in ' documents ' were made Piranha Farms'(l978) off-the-air footage during the last months. They reflect, rather, merges television (media) reality with perfor­ an attitude to the role of the camera and the mance reality. This process of substitution video monitor. > ·~ is carried further by Elizabeth Chitty's 'Telling Tales'(l979) and Clive DOCUMENTS considers the use of video as a -- Robertson. Robertson's 'Explaining Pictures " transparent " tool, a means of recording a . ~!iJ .To Dead Air'(l978) is a powerful investigation performance or event oriented towards a live ~~.I J~~JJ into the media personalities of artists like audience. Such documents, including the classic ' -'i . ~ -:;:·,~~. 'Deccadance - Art Stars in Hollywood' made in , ' .·~i'' ~-::. ~ Joseph Beuys through mass media formats 1974, are capable of evoking a past event for !_?~ ~IT~E L L such a,s television news. audiences distant in both location and time. Two tapes in this se.ction are designed specifi­ Forcing work by individual artist into categories Similarly, Hank Bull recently recorded his cally for the camera and _i n quite different ineyitably results in oversimplification and 'Relican Wedding' for both a future and a wider ways exploit the recording· process.- The ·often misnomers. PERFORM has been audience. meani11g o(Nan Hoover's perform§l':"lce 'Light or,,g_aq,i.;::ed not out of desire to categorize or Sometimes, the live audience for such events Dissol.:.-es, Light Poles1(l978) is-totally depen­ historically describe a body of work, but in an is small, at times non-existant. By recording dent on the way in which the video camera attempt to understand the evolving relationship a number of events the artist is ab le to trans­ records light. David Buchans's 'Lamonte Del­ between performance and video. mit information on a body of work, sometimes monte & The Fruit Cocktails(l978) is a series carried out in widely different locations. Such of production pieces which both parodies and videotapes include Chris Burden's 'Documen­ employs the cliches of 'live entertainment' tations of Selected Works 1971-75' and Patricia in a televison studio setting. In the original JO-ANNE BIRNIE DAl',IZKER Plattner's recent 'Pour moi vous etes aussi performance, cabaret becomes production set. Co-curator of Perform. VANCOUVER ART GALLERY RI PERFORM VIDEO SPACE 1145 W Georqia 682-5621 :.T:T-~55 . i . i •.~::..:­ =" ..!..'=..:..-...:..=..:~:: _:...=-- PERFORMANCE VIDEO LECTURE. SUNDAY SEPT .30, 3:00 PM Discussion with Paul Wong and Jo-Anne Birnie Danzker who co-curated PERFORM on the evolving relationship between performance and video. A look at ho w performance is transformed by the video camera which records it . - Black, VALa l/2" Black' ! sound, o n pre A Van• Li ve ~ - ·-- ----··----·---· ------ --- - ---- - ~--- --- _ _.:::. -- -.=::,..,-:::·"':--=-~::-:c....::: - . ============- L Ill -0 :l 0 L (!) .µ Q) 0.. 0 .µ .c0 ===! 0.. 0z w Bluesi "NEW >­_J ~ 3/4" _J T o irn Art G _mg.ps Hall t stop t tary t Wong. and "" -Perfo1 Cave st V AIN ' FEATURED TAPES AT VIDEO INN 261 POWELL ST. l/2" Of hist BEHAVIOUR/RITUAL NEW M 'JSIC PORTRAITS for mar Friday, Sept. 28 7PM Saturday, Sept. 29 7PM Sunday, Sept.30 7PM New Y Nitsch, Hermann (Austria) Terry Riley/Arlo Acton (California) Dana Atchley/Eric Metcalfe (Vancouver) Warho l ACTION 58 19 78 M'JSIC WlTH BALLS 1969 SPOTS BEFORE YOUR EYES 1977 stage c 3/4" color 2 7 minutes 3/4" color 30 minutes 3/4" color 22 minutes Andy 'v Live /1 Nitsch is an artist who has been developing One of the first "for the camera" interfaces A v ideo portrait of Eric Metcalfe and his Cole, I his ritualistic performances for close to two of m'.Jlti-media and affected video. Terry character aliases as Ruby the Fop, Dr. GERTR decades. Often e ntrenched in controversy, Riley is a noted electronic musician who Brute, and Howard Huge. This well-paced l/2" b , his actions include the s laughter of animals, pioneered work in his· _field. KQED was o ne and informative tape includes perfo rmances the ritual of pouring blood, intense orches­ of the earliest "telev ision labs" to prov ide and interviews intercut with visual artwork One pe trations of sound and visuals . His actions access to artists experiments. and props related to the portrait. This col­ place i take on the appearance of large festive and For The Camera Document laborative tape, over a year· in the making, A Vane relig ious ceremonies, and last as lo ng as A KQED Production consolidates seven y ears of art activity . Eric Live A 48 hours. Metcalfe is media, performance and visual T o m Defanti/Dan Sandin (Chicago) For The Camera Document artist and is a co-founding director of The Coum \ SECOND ELECTRONIC V ISUALIZATION A Western Fro nt V ideo Productio n Western Front. "CONDI EVENT 19 76 Wong, Paul (Vancouver) F o r The C amera Doc ument l/2" 3/4" color 30 minutes in ten sity 19 78 ACE T V Productio n Optical 3/4" b/w 23 minutes Tape with excellent introductio n. A series of V incent Trasoff/Byron Black (Vancouver) Coum - color s y nthesized video pieces created be­ MY FIVE Y EARS IN A NUTSHELL 19 75 Agressiv e movement/action within the con­ censor~ fore a live audience using a.n image proces­ l/2" b /w 30 minutes in vide• finement of an 8'X8' c ube. The actio n is re­ sor and keyboard. Defanti and Sandin are A document tape of Vincent Trasoff as Mr. contain. c o rded sim.;ltaneously by 5 camera view­ artists who have been instrumental in the points. The piece designed for the Video­ P eanut, a three dimensional anthro m orph. He v iol enc. development of sy naesthet ~c video. space at the Vancouver Art Gallery deals is seen walking the streets of New York City, F o r Tr For The Camera Document with endurance, tension, frustration and in­ on the cover of File Magaz ine, in perfo rmai:e cludes the music of the Sex Pistols, Patti at the Hollywood Deccadance, at home in thP­ Western Front and Babyland - as well as Craig, Smith and the A venger s w ith additional sound in the running of the 19 74 Vancouver Mayor­ FLYINI composition and mixing by AL MATTES of ality Race. l/2" the M..1sic Gallery located in T o ronto. This PERFORMANCE ON FILM F o r The Camera Document is the premiere screening of the o ne channel Sunday, Sept. 30, 10:30 A dare edit. in res~ Live Action Document, For The Cam.era, details page 4 ing to Edited Version and Integrated Video .
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