Navratil demonstrates that the visual arts are pre-eminently the field for investigating the simultaneous material and visual exploitation of the film medium.
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Since 1919, surrealist experiments have explored diverse mediums: automatic writing, dream transcriptions, verbal and graphical games, speaking under hypnosis.
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In earlier installations, Theuws abstracted recordings of reality by digitalizing them in the computer or used video images that were generated from the medium itself.
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When a medium like VHS tape disappears, its distribution channels vanish along with it, as does the architecture around it, the video store, and its related social system.
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Would it not be better to experiment in an exhibition with photography, a flexible medium par-excellence, and try to open up the great potential of its presentation possibilities?
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Stoner works in the medium of paint, which is not an obvious choice, since the worn out, nonsensical question of whether painting is relevant pervades and corrupts looking itself.
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The story tends to support the idea that Evans’ work is not simply to be categorised as documentary photography: he used the camera as a medium for ‘discovering’ as well as ‘making’.
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The story tends to support the idea that Evans’ work is not simply to be categorised as documentary photography: he used the camera as a medium for ‘discovering’ as well as ‘making’.
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Wouldn’t one be better off to begin experimenting with photography – a flexible medium par excellence – and try to open up its great potential for various possible presentation forms?
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Apart from the reference to the time-honoured compositional device of the repoussoir, it seems to me that the quotation of Cézanne in this medium of moving photos is not without significance.
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