New Trends from the World Wide Video Festival 1993-1994

1 june, 1994 - 18 june, 1994
Sabatini Building, Auditorium
Tom van Vliet
Paul McCarthy y Mike Kelley. Heidi, 1992
Paul McCarthy y Mike Kelley. Heidi, 1992

The works by Francisco Ruiz de Infante (Vitoria-Gasteiz, 1966), Petter Missotten and Irit Batsry (Ramat Gan, 1957) have a poetic inspiration in common. Die Rache der Toten Indianer (1993) by Henning Lohner (Bremen, 1961) is more like a documentary and highlights the intensity of artist and composer John Cage. Productions by Lars Kristensen, Kim W. Matthias & Stephan Haase and Patrick de Geetere & Cathy Wagner, as well as Moscow X (1994) by Ken Kobland (New York, 1946) share a movie house atmosphere, with the acclaimed director of Berlin-Nilreb (1988) and Foto-Roman (1990) creating a beautiful portrait of Moscow at three moments of great political change. Japan - through both the eyes of westerners and the Japanese themselves - appears in productions by Tomoko Take (Osaka, 1970), Shinichi Yamamoto and Stefaan Decostere, while Lydie Jean-Dit Panel (Montbéliard, 1968), Cheryl Donegan (New Haven, 1962) and Paul McCarthy (Salt Lake City, 1945) & Mike Kelley (Wayne, 1954; South Pasadena, 2012) present works with elements from performance art. Pieces by Merel Mirage, Nick Stewart and André Colinet (Belgium, 1955) feature a political commitment in documentary, analytical and dramatic manifestations. Bart Dijkman (Netherlands, 1959), George Barber (Georgetown, 1958) and Dennis Day (Grand Falls, 1960) present works that draw on a strong autobiographical inspiration. The symbiosis of image and music inspires the Polish artist Jaroslaw Kapuscinski and the young French artist Gerard Cairaschi (Brignoles, 1956). Finally, the selection made for the Museo Nacional Centro de Arte Reina Sofía includes works by Stuart Bender & Angelo Funicelli and Manfred Hulverscheidt (Aquisgrán, 1951) in which musical compositions and the movement and rhythm of the human body constitute the central motif.