TIM ETCHELLS UK : Downtime 2005 9:50
Tim Etchells, writer, performance artist and theatre director, sits alone in front of the camera and talks. It seems that he planned to recall thoughts and memories of farewell moments in his life. Although the process brings up deep and emotional feelings, Tim remains close to the actual time and situation.
INGE HOONTE US/NL : 'I'd Like To' 2006 3:15
In het own words: 'Ranging from subtle eye contact to a desire for more intimate connections with strangers we pass everyday, I'd Like To is a softly whispered
daydream on the attempt and failure of human interaction in daily life'
ARNULF RAINER AT : Confrontation with my video image 1975 fragment 5:00
Rainer sees his own face on the little screen next to the camera. He keeps observing and exploring his face as a whole and in detail. It might look ridiculous for an adult person to act as if he has never seen his face before, but I saw the work as a work of art: a ritualistic activity as a celebration of a renewed experience of the image of the
self, by means of this new medium video.
KIM ENGELEN NL : DO YOU LOVE ME? 2007 4.00
It seems that this piece exists by the attempt to express these 'key questions of love' deeper and more honest and personal as could be expressed by an actor.
MONIEK TOEBOSCH NL : from Verzamelde aan- en toevallen 1980 - '83 6:00
Moniek Toebosch is a visual artist. In 'Verzamelde......she presents a 'role', while
being surrounded by all the ingredients of theatre: the person, make-up, artificial lighting, costume and a sort of 'drama'.
VITO ACCONCI US : Theme Song 1973, fragment 9:00
In Theme Song, Acconci uses video as close-up to establish a perversely intimate
relation with the viewer, creating a personal space in which to talk directly to (and manipulate) the spectator. He is face to face with the viewer, his head close against the video screen, lying cozily on the floor.
DANA SEDEROWSKY SE : Special Announcements' from 2006 ongoing 6:00
No improvisation. Dana Sederowsky wants the perfect image and sound. She appears like a classical portrait. Although we look at the artist herself, there is no personal or emotional expression, her eyes are closed: Dana's appearance in front of the camera is a sculptural and theatrical support for the words she wants to bring forward.