Dialéctica entre movilidad e inmovilidad en el videoarte: La imagen videográfica que tiende al estatismo

Abstract

The relationship with the moving image has been modified, from film movement script, to the video that allows a personal look. The image that is projected, untouchable, in cinema, is followed by a domestic image, which we can manipulate with a simple touch of the remote control. Today, with digital technologies we can feel this image on touch screens and easily manipulate their movement, re-mix it, apply filters. This study is based on analysis of how video art reacted to this closer image and developed works that take advantage of the hybrid quality of the medium. The videographic medium is not exclusive to any area of the image and is placed in a border position that leads to an analytical work on the image itself. This research proposes that these changes have transformed the relationship of numerous works of video art with the movement. Serge Daney (1989, 49-51) analyzes the use of the decelerated image in video art and concludes that a dialectic exists in the contemporary image between mobility and immobility. In cinema, the vision of mobility has relied on the immobility of the spectator. This is completely transformed by the audiovisual installation, where the viewer moves in front of an increasingly less mobile image. We have analyzed a large number of video works that tends to stillness and our hypothesis is that this trend is a reaction to the new mobility of the spectator and its enormous power for manipulating the image. There is a kind of compulsion to death of the moving image, which seeks its own limit and almost abandons what defines it. The study of numerous works of video, proves that this trend that began in the years 80 and 90, has been subsequently reinforced. We have made a basic classification of the different strategies that work with the mobility and immobility of the image: the Douglas Gordon extremely slow image; the pictorial videos by Bill Viola and Sam Taylor Wood; the video portraits by Robert Wilson and Fiona Tan; the Martin Arnold image that stutters; the stories that cannot advance by Rodney Graham and Bill Viola. The study of these works and their dissected images, shows that these strategies require another type of spectator. These works of art are directed to more contemplative viewers, who reject the trepidation of the image of consumption and stop, for a moment, to think about the image.