![Spurensicherung [Huellas de la Memoria]](http://4.bp.blogspot.com/-4EwplMkyKLg/VISW4wtSFbI/AAAAAAAAAi0/s-nG2NBXmpw/s760/portada%2Byoutube.jpg)
Total City, IVAM (Valencia, Spain) Mai, 5 - Juli, 15 2012
[then in english]Entre mayo y julio de este año se ha celebrado en el IVAM (Valencia, España), una exposición colectiva bajo el nombre genérico de "Ciudad Total", comisariada por Miguel Angel G. Cortés, segunda parte de la exposición que tuvo lugar entre febrero y mayo de 2010 "Malas Calles" (según se dice expresamente en el folleto), y ya se sabe que segundas partes... Por eso me limito a traer aquí tan sólo algunas obras, todas ellas material videográfico. Se trata de los trabajos de Marina Chernikova "Urban Surfin II", HC Gilje "Shiva" y Jack Cronin "Invisible City", y en otro orden de planteamientos el trabajo vidiográfico digital 3D de Dionisio González "Cartografías para a remoçao. A cidade ajuntada".
Between May and July this year was held at the IVAM (Valencia, Spain), a group exhibition under the generic name of "Total City", curated by Miguel Angel G. Cortes, part of the exhibition that took place between February and May 2010 "Mean Streets" (as expressly stated in the brochure), and we know that sequels ... So i just bring here only some works, all video material. This is the work of Marina Chernikova "Urban Surfin II", HC Gikje "Shiva" and Jack Cronin "Invisible City", and in another vein approaches the 3D digital video work Dionisio González "Cartografias para a remoçao. A cidade ajuntada".
Marina Chernikova, Urban Surfing II (2007)
Marina Chernikova viene desarrollando una serie de fotografías y videos basados en la exploración de la dinámica estructural de las megaciudades tradicionales culturales (Moscú, Roma, Tokio, París, Jerusalén, Amsterdam y Marsella). En este proceso creativo, los elementos de las arquitecturas culturales y heterogéneos son capturados en diversas ciudades e integradas en un conglomerado de imágenes para obtener nuevas formas, nuevas proporciones. Marina Chernikova experimenta todas las posibilidades ofrecidas por la manipulación digital de imágenes a fin de encontrar la forma visual informativa más densa posible.
Su obra, como la de tantos artistas de vídeo se puede encontrar libre en la red. En el caso de Urban Surfing II, a continuación incluyo una versión de primera mano -tengase en cuenta que lo que yo he subido a la red es una regrabación-. No obstante, aunque regrabación, tiene valor, ya que aquí se ve cómo la gente ve realmente el vídeo en un museo. Y en ese sentido hay que destacar que la forma como se ha presentado en el IVAM no permite un visionado tranquilo, ya que hay un exceso de obras en exposición (en el presente caso de pantallas de proyección de vídeo), que producen interferencias unas sobre otras, sin que eso sea algo querido por los artistas que las han realizado.
Marina Chernikova been developing a series of photgraphs and videos based on the exploration of the structural dynamics of cultural traditions megacities (Moscow, Rome, Tokyo, Paris, Jerusalem, Amsterdam and Marseille). In this creative process, the elements of cultural and heterogeneous architectures are captured in varios cities and into a cluster of images to get new forms, new proportions. marina experience all the possibilities offered by digital manipulation of images in order to find the information visually dense as possible.
His work, like that of many video artists can be found free on the net. For Surfing Urban II, then included a first-han version -bear in mind that what I have uploaded to the network is a recording-. However, while rewriting, is valuable, because here is really how people see the video in a museum. And in this regard it is notworthy that the form as presented in the IVAM does not allow viewing assured that there is an excess of works on display (in this case video projection screens), which some interference on other, without that being something desired by the artist who have performed.
His work, like that of many video artists can be found free on the net. For Surfing Urban II, then included a first-han version -bear in mind that what I have uploaded to the network is a recording-. However, while rewriting, is valuable, because here is really how people see the video in a museum. And in this regard it is notworthy that the form as presented in the IVAM does not allow viewing assured that there is an excess of works on display (in this case video projection screens), which some interference on other, without that being something desired by the artist who have performed.
HC Gilje, "Shiva" (2003)
Music by Kelly Davis
You can see more videos of HC Gilje in
https://vimeo.com/hcgilje
And photo-still in
http://www.flickr.com/photos/hcgilje/455133998/in/photostream/
Jack Cronin, "Invisible City" (2006)
You can see more videos of Jack Cronin in
https://vimeo.com/user3490266
Rosa Menkman, "Demolish the eerie void" (2010)
El vídeo de Rosa Menkman "Demolish the eerie void" [Demoler el sobrecogedor vacío] no se vió en "Ciudad Total" en el IVAM, sino un año antes en las Atarazanas (Valencia), en la exposición de Observatori 2011 "Por error. El accidente como motor artístico", en la que tuvo un papel destacado trabajo encuadrables en el glitch art.
Sobre glith art véase
http://www.bitmondo.com/glitch-art-o-el-arte-del-error/
La presencia de este vídeo, que recrea una instalación multimedia, como colofón de esta recopilación, es muy procedente porque refuerza la idea común existente entre los restantes: ensoñaciones de fuerte contenido poético producidas con recursos que en apariencia tendrían que abocar a resultados "fríos", "impersonales", y otros adjetivos asociados al empleo de recursos electrónicos y digitales en el arte. Sin embargo, nada más lejos. Y ese desvío de los resultados que inicialmente cabía esperar tiene mucho que ver con la huída del juego espectacular con la tecnología y su empleo como si de un recurso pre-tecnológico se tratara. Como una aproximación a los paisajes de la Tierra Media que se avecina.
The video of Rosa Menkman "Demolish the eerie void" is not seen in "Total City" at IVAM, but a year earlier in the Atarazanas (Valencia), in exposing Observatory 2011 "Error. The motor accident as art", which was prominent works that can be ascribed to glitch art.
The presence of this video, which recreates a multimedia installation, the culmination of this collection is very appropriate, because it reinforces the idea between the remaining commom: strong dreams of poetic content produced with resources that would apparently lead to results "cold", "impersonal" and other adjectives associated with the use of electronic resources and digital art. However, nothing further. And this diversion of results initially expected have much to do with the light of the spectacular game with technology and its use as a resource if it were pre-technological. As an approach to the landscapes of Middle Earth tat lies ahead.
The presence of this video, which recreates a multimedia installation, the culmination of this collection is very appropriate, because it reinforces the idea between the remaining commom: strong dreams of poetic content produced with resources that would apparently lead to results "cold", "impersonal" and other adjectives associated with the use of electronic resources and digital art. However, nothing further. And this diversion of results initially expected have much to do with the light of the spectacular game with technology and its use as a resource if it were pre-technological. As an approach to the landscapes of Middle Earth tat lies ahead.
