Historically landscape is the main art and nature encounter. It is a sort of art work that throws a glance over the relations among Man, works of Man and Environment creations. This classic genre of painting is taken to the video generating in addition new questions mainly on the perception about the space conceived from an image machine and about this mean understood as a support of a theme that at first does not correspond to it since to the low resolution of the electronic image, despite today`s digital technology improvement, the typical frame of this practice does not part of it: the wide shot.
There are diverse ways whereupon video makers approach to this genre in video. The exhibition which accompanies this text proposes some of the most representatives tendencies. An idea seems to prevail in the great strip of production: the image that sets out like space (landscape) is not that of the represented reference but the same representation and its support characteristics. Here the video image necessarily make itself hybrid to harness its expressive capacity to in other means images. It is the case that proposes Alexander Schianchi video work, ST, which takes the mythical image from the cinema filmed by Lumière brothers, the train arrival to the station, a typical urban landscape filled of Modernism, on which it is exerted a digital exploration exposing the reproduction support, a low resolution electronic image digitalized from a VHS cassette. Cine to analogical video, VHS to digital in order to fragment the landscape expanding the cinema possibilities at the historical moment of the original image. The primitive cinematographic language – the wide shot, the fixed camera – it is digitally reframed generating close up and a moving camera that frames and moves over exploded pixels. Algo pasa en Potosí – Something is going on in Potosí – by Victoria Sayago displays a similar proposal but the image is originally a photograph. Starting off from a scanned fixed image reframed again by digital means a sequence shot unfolds which internal montage made up of a succession of “décadrages” transforms the original landscape producing a suspended story full of suspense and confusion. On a rustic and direct way generating a sincere, fresh and carefree aesthetic, Tennis, by Jazmin Lopez, adds time, duration, movement, action to an act frozen in a panoramic photograph. Trough a double formal movement made up of a frenetic sweep by the video camera using a radical telephoto lens and the composition of a basic soundtrack cyclical repeated, the artists gets filling
of life that mummified instant. Carlos Trilnick work is also generated from an image that originally it is of photochemical nature that, once becomes a digital image, acquires duration and movement accompanying Trilnik`s electronic music. Defocused natural landscape photographs become moving texture, run by places untouchables by the apparent speed of which it is in fact one static image. Other works such as Un tiempo – A time – and Estudio para horizonte en plano general – Study for horizon in wide shot. -, formulate a strong statement about the mediate space, its perception and the relationship between the representation and the space / time in which it is exhibited. The field expands or it is diminished. On the case of Milena Pafundi`s video an overwhelm set in abyss is generated turning around the fourth wall of the screen extending the room where the spectator is located, the landscape unfolds in the image. Not satisfied with that remembering us the historical work by Vito Aconci, Theme Song, she invites us to participate in a game with it, communicating with it, to approach to it and feel the womb movement in its strong breathing. In his essay, Federico Falco, generates the opposed movement eliminating everything outside the field replacing the landscape from a family photograph by a initial color adjustment signal of a video leaving the characters on the flat image of pure electronic colors. The color bars denounce the image as it is parting off from its representative possibility and limiting its field to the minimum expression, the same frame of the television set. Finally, Periplo – Periple -, by Gustavo Caprin and Paula XXX`s XXX generate a more naturalistic image next to the painting proposals which in the crossing with the documentary become total perception, a personal version of the represented space and the action that in which is unfolded loading it in both cases of a great poetic weight. [topswf swf=’http://continentevideo.com.ar.yaguar.avnam.net/wp-content/uploads/paisajes.swf’ width=’320′ height=’240′ quality=’best’ wmode=’transparent’ scale=’default’ flashvars=” allowfullscreen=’false’] 9th. Video / Art / Electronics (VAE) – September, 2005. Lima, Peru.
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