Please install Flash® and turn on Javascript.

Video: „Meeting Point“, Sanja Iveković, 1978

Kontakt - films and videos of the Art Collection of Erste Group at the VIENNAFAIR 2010

With its focus on “Film and Art”, VIENNFAIR 2010 presents in the special exhibition “Borrowed Time” curated by its artistic director Edek Bartz, films and videos mainly from private collections. In the framework of VIENNAFAIR’s film focus, film and video works from the art collection “Kontakt. The art collection of Erste Group” will be shown daily.

„Borrowed Time“: daily from 12 a.m. to 5 p.m.
Kontakt - films and videos: daily from 5 p.m. to 7 p.m.

Kontakt - films and videos of the collection of Erste Group
Curated by Georg Schöllhammer
Production: Walter Seidl

Program:
Peter Weibel, grüß gott, 1967/1972, Video, s/w, 45 sek
Tomislav Gotovac, Pravac (Stevens-Duke) / Straight Line (Stevens-Duke), 1964, 16mm 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, 3min 10 sek
Tibor Hajas, Öndivatbemutató / Self Fashion Show, 1976, 35 mm s/w, Sound, 14 min 9 sek
Natalia LL, Consumer Art, 16mm, Farbe, Sound, 15 min, 53 sek
Sanja Ivekovic, 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 8mm, 11 min
Rasa Todosijevic, Was ist Kunst Marinela Kozelj?, 1978, s/w, Sound, 16 min 20 sek
Artur Zmijewski, Me & Aids, 1996, Video, Farbe, 6 min 40 sek
Josef Dabernig, Markus Scherer, Timau, 1998, 16mm, 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 , * 1949 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