The return of the flâneur

The return of the flâneur


Art Press no255 33-41 Mr 2000

Video work was noticeably prominent at the last Venice Biennale.(1999) Still, within this category there were profound differences, or even radical oppositions, even if these were softened by the shared means of expression.

we find artists who have taken up the moving image as a way of showing a new “materia!”: time. They may be seen as the fourth generation of “video artists.” Thus we go from the pioneers of the first generation (Wolf Vostell, Nam June Paik, Vasulka, Vito Acconci), the painters and sculptors of the second (Bill Viola, Gary Hill, Tony Oursler) and the “recyclers” of the third (Douglas Gordon, Pierre Huyghe, Angela Bulloch, Philippe Parreno, etc.) to this fourth generation (Sam Taylor-Wood, Pipilotti Rist, Aitken, Balthasar Burkhard and Pierre Bismuth) for whom cinema is no longer either a field of ruins to be built with or a screen for representing a common memory (ah! childhood recollections of the movies!) but an art to be explored outside the sensorial captivity of the traditional movie show. It is indeed the use of movie references that distinguishes the later generations from the first two. 3,4세대의 차이는 cinema와 결합한다는 점. 



Thus, in these video art exhibits, the flâneur cohabits-often on the same level — with the projection apparatus. Thus the point where the projection of the images originates becomes one with the point from which the spectator’s vision originates. The rear wall against which viewers now lean, their gaze in line with the beam of the projector, illusorily reinstates the confusion between two archaic conceptions of vision that the Renaissance dispelled by its mastery of perspective.(FN6) 여기에 나는 동의하지 않는다. 같지 않다. cohabit아니다. cinema랑 크게 다르지 않다. 
One of the distinctive features of this artistic practice is that it offers a floating, energetic dramaturgy whose lofty seduction is on a par with the sophistication of the technology frequently imposed on the viewer.
The flâneur of installations (visitor-spectator) is attracted and repelled in equal measure by these images whose only finality is their looping repetition. But the journey is in fact more mysterious, and involves identity. Since Baudelaire it has been agreed that a flâneur has no set intention, is a “herbalist of the asphalt.” These fin de siècle installations are bringing back the window-display effect that was given architectural and scenographic form by the Parisian arcades of the 19th century. This no doubt has some bearing on the tendencies of certain “installationist” artists who may not always use video but who, deliberately or unwittingly, underline the “kitsch” shop-style exhibitionism of their work.

Paini한테서 visitor-spectator는 쓸만한데, Flanuer는 아니다!! 














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