About the times of the spectator in Documenta 14
DOI:
https://doi.org/10.24310/Umatica.2018.v0i1.5416Keywords:
Event, videoart, narration, Kassel, Documenta14,Abstract
The approach of this text revolves around the work-spectator binomial. For this, I will focus on just a couple of pieces that are inserted in the sample Documenta14 of Kassel. It is not, therefore, a text with illustrative or documentary pretension, but a certainly interesting vision that, however, underlies the modes of contemplation of contemporaneity.
The choice of the works to which I will refer in this essay is due to a series of questions that have to do, mainly, with the structure of the narration in the time in which they are developed. In this way, I will analyze motion images that, moreover, do not appear in movie theaters (as with other works in the show) but instead coexist with other creations (painting, sculpture, etc.) that could be termed as timeless because they are not subject to a certain duration.
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Galindo, R. J. (Artista). (2017). The Shadow [Video, performance]. Palais Bellevue, Kassel.
Haiduk, I. (Artista). (2015-Actualidad). SER (Seductive Exacting Realism) [Instalación sonora]. Neue Neue Galerie (Neue Hauptpost), Kassel.
Tzamouranis, D. (Artista). (2015). 36 Grad 45 N 021 E [Óleo sobre lienzo]. Colección Museo Nacional de Arte Contemporáneo (EMST), Atenas. Fridericianum, Kassel.
Viola, B. (Artista). (2004). The Raft [Videoinstalación]. Colección Museo Nacional de Arte Contemporáneo (EMST), Atenas. Fridericianum, Kassel.
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