I think the YouTube description of Anri Sala’s Nocturnes might be the best writing on it out there, and it makes me wonder what truth looks like (in video). Also, a guy gets hit in the face with a dildo… maybe.
In 1975, convicted bank robber John Wojtowicz sent a prospective article to The New York Times. It sheds fascinating light on his crime, the resulting movie (Dog Day Afternoon), and Pierre Huyghe’s seminal The Third Memory (1999). Also, a certain bear likes Fitty.
Aernout Mik’s Raw Footage, for which the artist compiled discarded bits of news footage from the Yugoslavian conflicts of the 1990s, has the natural appeal of images of war. But can it stand up to doing the Carlton dance on top of a tank?
“Uselessness” is a pretty good way to identify something as art. Hennessy Youngman said that as a joke – “I can’t possibly sit on all these chairs! ART. “- but it’s true; when in doubt, use value is the division between art and design, video and documentary. Bringing that division into question can create some incredible artworks.
A sensitive, understated work about the uses the otherness of tourism to prompt close examination of what we might otherwise accept, and also a fat bully beating the shit out of a kid in Iraq while Snoop Dogg plays.
Video used to be weird; there’s no other excuse for all the ten-minute films of an artist picking his nose. There’s a weirdness to seeing your own body on video that, in an age of webcams, we’ve lost, and the fact that it’s not weird anymore kind of ruins a lot of it. Reintroducing that weirdness is hard, but maybe we can at least make it acceptable YouTube material.