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Video: „Meeting Point“, Sanja Iveković, 1978

Kontakt – Filme und Videos aus der Kunstsammlung der Erste Group auf der VIENNAFAIR 2010

Die VIENNAFAIR setzt 2010 den Schwerpunkt „Film + Kunst“ und zeigt in der Sonderausstellung „Borrowed Time“, kuratiert von Edek Bartz, künstlerischer Leiter der VIENNAFAIR, nonstop Filme und Videos aus vorwiegend privaten Sammlungen. Auch „Kontakt. Die Kunstsammlung der Erste Bank“ präsentiert jeden Abend Film- und Videoarbeiten aus der Sammlung.

„Borrowed Time“: täglich von 12.00 bis 17.00
Kontakt – Filme und Videos: täglich von 17.00 bis 19.00

Kontakt – Filme und Videos aus der Kunstsammlung der Erste Group
Kuratiert von Georg Schöllhammer
Produktion: Walter Seidl

Programm:
Peter Weibel,  „grüß gott“, 1967/1972, Video, s/w, 45 sek
Tomislav Gotovac,  „Pravac“ (Stevens-Duke)/„Straight Line“ (Stevens-Duke), 1964, 16 mm s/w, 6 min 40 sek.
VALIE EXPORT,  „Cutting“, 1967, Expanded Cinema/Screen Action, s/w, Sound 2 min 5 sek
Peter Weibel,  „Multimedia 1“ , 1969, Videoaktion, s/w, 3 min 10 sek
Tibor Hajas,  „Öndivatbemutató“/Self Fashion Show, 1976, 35 mm s/w, Sound, 14 min 9 sek
Natalia LL,  „Consumer Art“ , 16 mm, Farbe, Sound, 15 min, 53 sek
Sanja Iveković,  „Meeting Point“, 1978 s/w, 6 min 6 sek
Dalibor Martinis,  „Open Reel“, 1976, s/w, Sound, 3 min 40 sek
Hans Scheirl,  „Straßenbilder“ , 1979, Super 8 mm, 11 min
Rasa Todosijević,  „Was ist Kunst Marinela Kozelj?“, 1978, s/w, Sound, 16 min 20 sek
Artur Żmijewski,  „Me & Aids“, 1996, Video, Farbe, 6 min 40 sek
Josef Dabernig, Markus Scherer  „Timau“, 1998, 16 mm, s/w, Sound, 20 min
Carola Dertnig,  „Revolving Door“, 2001, Video, Farbe, Sound, 2 min 2 sek
Dorit Margreiter,  „Jock“, 2001, Video, Farbe, Sound, 2 min 30 sek


Sanja Iveković, born 1949 in Zagreb (Croatia), lives in Zagreb
Since its beginnings, Sanja Iveković’s artistic endeavor has moved in the field of diverse “politics of performance” that the theoretician Peggy Phelan identifies as strategies for a critique of the ideologies of the visible: “Performance, insofar as it can be defined as representation without reproduction,” she writes, “can be seen as a model for another representational economy, one in which the reproduction of the Other as the Same is not assured.” Iveković works with double strategies (like those described above for Personal Cuts). She uses the performative potential of the mass media, of magazines and newspapers, of advertising, of “public” and – very decisively – also of “private” photography in order to bring her own person into play in the broad field of representation as a structural reference figure. The video Meeting Point (1978) combines two separate realities: the inner space of a television image and the observer’s current experience. Iveković paints a black dot on the middle of her forehead and a second one on the middle of the video screen. First she dances before the static video camera focused on her face, and then in a second step she switches to playback, stopping the tape at the points where both of the black dots happen to come together precisely over one another. Thus the video screen becomes a target for an imaginary observer, a moving target that offers itself and at the same time retreats.

Silvia Eiblmayr