{"id":558,"date":"2014-07-10T18:15:22","date_gmt":"2014-07-10T16:15:22","guid":{"rendered":"http:\/\/www.videospotting.org\/eng\/?page_id=558"},"modified":"2022-01-14T12:07:10","modified_gmt":"2022-01-14T10:07:10","slug":"race-with-time-performance-in-a-rear-view-mirror-2014","status":"publish","type":"page","link":"https:\/\/www.videospotting.org\/eng\/race-with-time-performance-in-a-rear-view-mirror-2014","title":{"rendered":"Race with Time. Performance and Video in a Rear-view Mirror (2014)"},"content":{"rendered":"

Curator: Barbara Bor\u010di\u0107<\/strong>
\nProduction:<\/strong> SCCA-Ljubljana, 2014
\nDuration:<\/strong> 99′
\nPremiere:<\/strong> Slovenski gledali\u0161ki in\u0161titut (National Theatre Museum\/Institute), June 5\u201316, 2014<\/p>\n

The relationship between performance art and video art could be schematically demonstrated by four modes: 1) video as a document of performance, 2) video as a part of performance \/ performance as a part of video, 3) (video) performance, staged only for the camera, and 4) performance made possible only through video, its expressive and technological possibilities for processing and editing.<\/p>\n

Nu\u0161a and Sre\u010do Dragan, Video Painting (Masculin-feminin)<\/strong>, 10′
\nvideo action
\nTrigon, Graz, 1979<\/p>\n

\"Nu\u0161a<\/p>\n

Miha Vipotnik, Videogram 4<\/strong>, 29′
\nvideo tapes from studio recordings and art video
\nRTV Ljubljana, 1976\u201379<\/p>\n

\"Miha<\/p>\n

Marko A. Kova\u010di\u010d, Casus belli<\/strong>, 5′
\nvideo performance
\n1983<\/p>\n

\"Marko<\/p>\n

Martina Bastarda, Mateja Ocepek, Nata\u0161a Sku\u0161ek, Pissing<\/strong>, 4’29”
\naction for camera (outdoors)
\n2002<\/p>\n

\"Martina<\/p>\n

Duba Sambolec, Collectors #3, *Settings*<\/strong>, 31′
\nvideo performance (a part of installation Collectors #3<\/em>)
\nKIT Trondheim, 2002<\/p>\n

\"Duba<\/p>\n

Toma\u017e Furlan, Wear IV\u2013VI<\/strong>, 5’28”, 3’22”
\nperformances for camera (studio)
\n2005<\/p>\n

\"Toma\u017e<\/p>\n

Ana \u010cigon, One More Kick<\/strong>, 3’40”
\nperformance for camera (cadre)
\n2009<\/p>\n

\"Ana<\/p>\n

Mateja Bu\u010dar (with Aja Zupanec, Martina Ruhsam, Ale\u0161 Zorec, Ivan Mija\u010devi\u010d, Maja Kalafati\u010d, Nina Pertot Weis), The Unnoticed<\/strong>, 7′
\nurban choreography
\nDUM, 2013\u20132014<\/p>\n

\"Mateja<\/p>\n","protected":false},"excerpt":{"rendered":"

Curator: Barbara Bor\u010di\u0107 Production: SCCA-Ljubljana, 2014 Duration: 99′ Premiere: Slovenski gledali\u0161ki in\u0161titut (National Theatre Museum\/Institute), June 5\u201316, 2014 The relationship between performance art and video art could be schematically demonstrated by four modes: 1) video as a document of performance, 2) video as a part of performance \/ performance as a part of video, 3) […]<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":15,"comment_status":"open","ping_status":"open","template":"","meta":{"footnotes":""},"class_list":["post-558","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/pages\/558","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/comments?post=558"}],"version-history":[{"count":3,"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/pages\/558\/revisions"}],"predecessor-version":[{"id":1025,"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/pages\/558\/revisions\/1025"}],"wp:attachment":[{"href":"https:\/\/www.videospotting.org\/eng\/wp-json\/wp\/v2\/media?parent=558"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}