Being more and more recognized by the artistic institutions, the videoinstallation uses the electronic image technology as a basis to develop a contemporary art. The relationship between viewer and monitor changes in a given videoinstallation, as the 2-D image moves out of its plane and expands towards the outer space in order to bring up time and motion to the scenery. The presentation of the 11 videoinstallations, quite diversified among themselves, show the broad possibilities about what could be made and is a unique opportunity to know the work of internationally-renowned artists.
The installation Terminal II, by the dutch artist Jaap de Jonge, its a visualization of war violence in the end of the 20th century. The Project - supported by the World Wide Video Centre - is composed by two more installations (Terminal I and Terminal III) that were not shown at the 10th Festival.
artists
Works
Curator's text Tom van Vliet, 1994
Terminal II
All the tenth World Wide Video Festival in 1992, Jaap de Jounge’s installation Horizon was awarded. The jury wrote that they had great esteem for the lucid conceptual delimitation, the mechanistic principle and the refreshing and playful visual language of the installation. The prize consisted of the commission to realize a new piece, to be exhibited in the World Wide Video Centre. The result was an impressive installation, consisting of Terminal I, II, III. Terminal II will be presented in São Paulo during the manifestation Videobrasil.
X-rays pictures of violinist, a drummer and a trumpet player can be seen on the three separate monitors which have been placed horizontally in a structure of metal tubes, 3 meter high. The three audio tracks from the musicians together form the melody of a dead man’s orchestra. After climbing one of the three ladders of the structure, one looks down into the tubes and sees the war violence in the former Yugoslavia. Through their very position the images suck the viewer inside, whilst at the same time there is great physical distance. These images we know, yet cannot grasp; images we see every day, whose origin eludes our understanding, but which can be shared by anyone. The dead man’s orchestra surrounds the violence of war and together they are anchored in a structure of tubes from which no escape is possible. Like the blood circulation, all kinds of social process take place in tube-like systems. The playfulness in Horizon to which the 1992 jury referred is not present in Terminal II. This piece takes a deep breath, and is a masterful visualization of war violence in a torment “fin de siècle”. The “lucid conceptual delimitation” of a manageable battle field surrounded by dead man’s orchestra lends an extra dimension to Terminal II.
ASSOCIAÇÃO CULTURAL VIDEOBRASIL. "10º Videobrasil: Festival Internacional de Arte Eletrônica": de 20 a 25 de novembro de 1994, São Paulo-SP, 1994.