Natalie Gravenor | Tuesday May 4th, 2010
The Galerie Olaf Stüber in Berlin is showing until May 8 a collection of rarely seen 1970s US video art. These works are a radical critique of TV and re-define the triangular relationship between spectator, artist and medium. Chip Lord was a member of a 70s video artist collective known as Ant Farm, whose work is being exhibited in the show. Chip Lord’s scathing analysis of the militarised rhetoric in the 1980s blockbuster “Top Gun” is available on realyez.tv (NOT TOP GUN: CHIP LORD LOOKS AT THE HOLLYWOOD VERSION OF THE AIRFORCE ).
Here’s some more information from the gallery
“We are delighted to be presenting in cooperation with »basis« the exhibition “videotape is not television” from Mar 27-May 8, 2010. This group exhibition brings together works by some of the most important US American video collectives of the 1970s.
In their different ways the collectives Raindance, Ant Farm, T.R Uthco, TVT illustrate the utopian potential liberated in the early 1970s as the new medium of video art was establishing itself. Operating between agitation and artistic aspiration, the US American video collectives invoked for the first time situationist strategies that had been familiar in France since the 1950s. Within the context of the innovative medium of video, these groups transformed the consumption- and sociocritical trends in US American art production. This opened up new perspectives in the critical exploration of the everyday world in the country’s still young art history, directly questioning social processes that had hitherto played only a marginal role.
The critical aspects of Raindance, Ant Farm, T.R Uthco, TVT reflect these collectives’ interest in the medium’s innovative potential within the visual arts. These groups responded to social and political questions, making them the themes of a new, more diversified concept of art. Reacting to entrenched social patterns in US American everyday life, they mobilized a wide range of documentary and reportage strategies. Other approaches to the same complex of themes were expressive/humorous or performative in nature, primarily opposing the consumerist attitudes prevalent in broad sections of the US American population.
All of these approaches critique the dominance and, in terms of subject matter, one-sidedness of television as a mass medium. The new medium and tool of video opened up opportunities for young artists to experiment with alternative forms in the media propagation of political and social contents. For present-day observers, the utopian potential that young, creative, politically oriented groups detected in video as a medium in the early 1970s brings to mind ideas and conceptions that have since been transferred in a range of fields to the WWW. Comparable expectations underlie the participatory, grass-roots potential of the two media even though historically they lie some thirty years apart. The exhibition illustrates in a variety of ways the extent to which such-possibly inflated-expectations arose in relation to the social potential of video in the early 1970s in commerce, in mass media uses, and in respect of its innovative, participative, and collective uses. Whether and how such justified if also inflated expectations and possibilities apply to the WWW today remains to be seen and constitutes a final question in the project.”
VT≠TV VIDEOTAPE IS NOT TELEVISION
Raindance, Ant Farm, T.R Uthco, TVTV.
Mar 27 – May 8, 2010
1 p.m. to 6 p.m.
Galerie Olaf Stüber