|TOWARDS A MEDIA ECOLOGY
THE THIRD RENCONTRES INTERNATIONALES
ART CINEMA / VIDEO / ORDlNATEUR
Symposium and screenings
April 22 - 28 1998
at the Cinéma des Cinéastes,
The RENCONTRES INTERNATIONALES ART CINEMA
/ VIDEO / ORDINATEUR is a major international event focusing on the moving
image as visual art. Since 1990, it has been breaking new ground by bringing
together all forms of screen based art, such as film, video and computer
art, and by viewing contemporary art forms through an historical perspective.
On the dawn of the third millennium, the RENCONTRES INTERNATIONALES ART
CINEMA / VIDEO / ORDINATEUR seeks to cultivate an awareness of 20th century
technological media, and to propose critical and comparative approaches
to contemporary aesthetic phenomena.
Following the success of the two first
events at the Vidéothèque de Paris in 1990 and 1994, the
third RENCONTRES INTERNATIONALES ART CINEMA / VIDEO / ORDINATEUR, organized
once again by A.S.T.A.R.T.I. for Audiovisual Art, was held from April 22nd
to 28th at the Cinéma des Cinéastes in Paris, and involved
more than a hundred artists and scholars from twenty two countries.
Curated by artists Maria Klonaris and Katerina
Thomadaki, this year’s event raised the issue of MEDIA ECOLOGY, proposing
an "ecological" equilibrium between mechanical, optical, electronic and
digital media. Some forty programs (screenings, panels, and one person
presentations) thus wove links between linear and interactive artworks,
all the while aknowledging earlier artistic traditions of synæsthesia
and projection devices.
Solo programs were devoted to avant-garde
pioneers in film, video and interactive media, notably Pat O' Neill, Steina
Vasulka, Jeffrey Shaw, and Studio Azzurro.
A focus on light based art forms included
an homage to Loïe Fuller, light machines and light shows presented
by film historian William Moritz, synæsthetic light/music experiments
in the former Soviet Union presented by physicist Bulat Galeyev, diverse
light-musical inventions (Wladimir Baranoff-Rossiné’s optophonic
piano, lannis Xenakis’ laser musical compositions, Waltraut Cooper’s light
musical instruments), and projection works (Roswitha Baumeister, Jennifer
Steinkamp, Loophole Cinema, Jorge Orta, Luke Jerram).
Thematic programs crossed experimental
film classics (Maya Deren, Jonas Mekas, Kenneth Anger, Andy Warhol, Jack
Smith, Stan Vanderbeek) with contemporary creations in film, video, computer
animation and CD-Rom by artists such as Sandra Lahire, Lis Rhodes, Irit
Batsry, Robert Cahen, Michael Mazière, Tanya Syed, Milla Moilanen,
Robert Darroll, Vladimir Kobrin, Marina Grzinic-Aina Smid, Perry Hoberman
and Zoe Beloff. Also scheduled were rare feature films by Derek Jarman,
Pat O’Neill, Birgit Hein, John Maybury, Ermeline Le Mezo and Francisco
Ruiz de lnfante, plus a tribute to Jean Genet.
Panel discussions and projections addressed
questions related to nature, gender and technology :
- Destroying or reconceiving nature through
technology (Françoise d'Eaubonne, Cordelia Swann, Char Davies, Louis
Bec, Merel Mirage),
- Bodies and machines (Nancy Paterson,
Norman White, Edmond Couchot, Maurice Benayoun),
- Gender collapse in the "post-biological"
era (Allucquére Rosanne Stone, Alain Burosse, Clio Barnard).
Body politics were underscored through
works on AIDS (Matthias Müller, Mike Hoolboom), erotica (Vicky Funari,
Chu Shea Chang, Leone Knight), black identity (Keith Piper) and the self-depiction
of women (Valie Export, Jayne Parker, Ariane Thézé, Mara
Mattuschka, Claudia Hart, Sarah Pucill, Esther T., Pipilotti Rist, Barbara
A book/catalogue accompanied the event,
including texts by art historians, philosophers and media theorists (Roy
Ascott, Christine Buci-Glucksmann, Dominique Chateau, Edmond Couchot, Gladys
Fabre, Marina Grzinic, Sigrid Schade): Pour une écologie des
media, Klonaris/Thomadaki eds, Paris, A.S.T.A.R.T.I., 1998.
The third RENCONTRES INTERNATIONALES ART
CINEMA / VIDEO / ORDINATEUR was supported by the French Ministry of Culture
and by the European Kaleidoscope Programme. It was assisted by the Cinéma
des Cinéastes. Sponsors included the British Council, the Goethe
Institute, the Canadian Ministry of Foreign Affairs and International Commerce,
the Cultural Services of the Canadian Embassy, the Austrian Cultural Institute,
the ltalian Cultural Institute, the French Embassy in Moscow, the French
Consulat in Toronto, the Finish Ministry of Foreign Affairs, the Embassy
of Iceland in Paris. With the participation of the Centre de Recherche
en Arts Plastiques (CERAP), Université Paris 1, Sorbonne.