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  1. 3 Kwartalnik Filmowy

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  2. 1 2008

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  1. 3 Pitrus A.

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1

Bill Viola - Dimensions of Video Image

100%
Pitrus A.
Kwartalnik Filmowy
|
2008
|
issue 64
94-102
EN
Bill Viola is one of the better known contemporary new media artists. He is one of the few who managed to leave the specialist niche and achieve success (including commercial success). He is also one of the artists who helped to define video as a new and acceptable medium of artistic expression. The author does not present Viola's work in its entirety, bur rather focuses on 'The Reflecting Pool' project and the ontological questions related to video art and its relation to film, as a medium. According to him, Viola proposes that we treat the monitor as a new kind of canvas that allows the artist to create pictures ex nihilo, and yet at the same time he realises that a camera might also be directed at reality.
2

JUST ONE MEMORY: AN ATTEMPT AT AN AUTOBIOGRAPHY WITHOUT NARRATIVE IN THE WORK OF BILL VIOLA (Tylko jedno wspomnienie. Proba autobiografii bez narracji w pracach Billa Violi)

100%
Pitrus A.
Kwartalnik Filmowy
|
2011
|
issue 73
200-205
EN
The work of Bill Viola, an artist working with moving image, that is not film, is classified as video art, video environments or media installations. In his work there are a lot of autobiographical motifs, although the artists never uses the structures of classic narration, and never tells us a story. Rather he builds and constructs additional meanings on top of a traumatic event from his childhood, when he nearly drowned. The event was both traumatic and fascinating, as during the drowning Viola had an incredible, visual experience. In his work he returns to the drowning very often, but using different means and on different levels of conceptualization. Sometimes the scene from childhood returns in a literal sense, but more often as an attempt to find the 'hidden dimension' of the event. An excellent example of working through the autobiographical element is the work entitled The Reflecting Pool, a work that has been accepted into the canon of new media arts. It is this work that forms the basis of Pitrus' analysis in this article.
3

SUBJECT - OBJECT - GESTURE - INSTRUMENT: FROM DADA TO EARLY VIDEO ART (Przedmiot - obiekt - gest - instrument: od dada do wczesnej sztuki wideo)

80%
Pitrus A.
Kwartalnik Filmowy
|
2011
|
issue 74
50-56
EN
The article deals with the relationship between video art with the dadaist tradition, and shows how some of the principles of the creators of the Great Avant Garde were developed in the period when artists started to reach for electronic media as means of artistic expression. References to the Dada tradition have a heterogeneous character within video art. This is due to the multi faceted use of this medium by various artists - for some it served above all as means of recording performance art, for others it became a matter that replaced more traditional materials used in art. Pitrus refers to many examples, e.g. the work of Bill Viola, Nam June Paik as well as Steina and Woody Vasulka.
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