Abstract
No abstract availableOriginally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as The International Journal of Screendance, Volume 1 (2010), Parallel Press. It is made available here with the kind permission of Parallel Press.
Highlights
Claudia Kappenberg Senior Lecturer, Performance and Visual Art School of Arts and Media University of Brighton
Men in the Wall, and BKLYN follow dance’s dislocation into very different technologies and viewing conditions, maintaining the abstraction of a transparent no-place while placing topographically-detached bodies in disparate settings. Their focus is not on portraying a dancing body in an empty space, like the films and videos mentioned above, but on superimposing images such that dance can be made to appear anywhere: Waterfall stages modern dance choreography on top of rivers and cresting waves; the performers in Men in the Wall seemingly travel the world in the space of a condensed day; and BKLYN rapidly cycles through a number of shoot locations throughout Brooklyn, New York
The existence of criticism that opens up the field to a professional or at least renewed reflection seems to be crucial. In considering this topic, another question emerges: if a criticism in videodance existed, what role would it have to play in view of this complex and still controversial artistic language? In order to attempt to answer this question, we will have to take into account that the existence of criticism determines to a large extent the importance of a mode of artistic expression in culture, since it contributes to the designation of the status of what it criticizes and circumscribes it as an autonomous space of aesthetic effects
Summary
The International Journal of Screendance (ISSN 2154–6878) is published by Parallel Press, an imprint of the University of Wisconsin–Madison Libraries. Exploring creative and operational territories, characterized by Murch as inhabiting “the wide spectrum between home movies and feature films” (Behind The Seen 334) artists can find themselves adrift within a hybridized limbo of looking-glass economic models, effectively making on the indefinitely-deferred payment basis of the never-never, as the work itself attains the status of proto-currency: units of credit with the potential to be redeemed within an academic research economy, or accrued as notional capital with each curated festival screening. Regardless of the varying co-ordinates of individual pathways, acknowledging the egalitarian origins of“the amateur”has the potential to make fellow twenty-first century travelers of many
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