Hannah Wilke (1940–1993) - So Help Me Hannah, Snatch-shots with Ray Guns, 1978. Gelatin silver print
somewhere in Brussels
Ana Mendieta, documentation of an untitled performance with flowers, ca. 1973 (Intermedia Studio, University of Iowa; detail). 35 mm black-and-white photo negative.
Rasa Todosijevic, Was ist Kunst 1978 B&W C-type photograph 35x25cm
Aktion Sorgenkind, Wien by Gottfried Helnwein, 1972
claudia casarino — sin titulo, 1998
Tunga, Xifópagas Capilares, 1984
Still from Tautological Cinema by Ewa Partum, 1973-1974
Ewa Partum - Tautological Cinema, 1973
Stills from Tautological Cinema by Ewa Partum, 1973-1974
Tautological Cinema is a series of short films made in the paradigm of structural cinema – the movement of the late 1960s which focused on the examination of material factors of a film. Looking into a film as a medium Ewa Patrum concentrates on the notion of automatisation of a film message and the structure of its language. “It’s not dealing with aesthetics” claims the author. “It’s rather a new sort of philosophical practice that operates in the area in which the relation between the film image and the camerawork covers the whole interest in the film itself”. In artistic practice, such ideas can, for instance, take a form of an analysis of how film tape makes its way through a projector, as in the film 10 Metres of Film Tape. A work which stands out is Film by Ewa, which examines different ways of artistic communication and states that the indirect passing of ideas is not possible. “Covering, in turn, her mouth, eyes, ears (meant to manifest that an idea within an artist is not transferable) Ewa Patrum formulates an opinion which is to show the alienation of an author who, creating the art of meaning, cannot fully express the intentional idea. Once it gets materialized against an art medium or gets into the area of someone else’s experience it is distorted and distanced from the original meaning” argues Łukasz Ronduda.
Andy Warhol - En attendant la performance ” Pork “, 2 Août 1971
Aktion Sommer by Rudolf Schwarzkogler, 1965