Video creation: travelling images

In our “full screen” world, video art should be the principal medium for creative proposals. And while it is true to say that many artists occasionally, or even frequently, use this medium to make their work known  institutionally and commercially, after 50 years the inertia of the system continues to hinder its complete implementation.

Moreover, the temporal quality of video defines these productions as volatile fragments in an image world. Ana Martínez-Collado, director of the easily accessed ARES archive of video production in Spain, says “the images fly, they travel, are forgotten and reappear, are arranged and disarranged in our memory and bond with other flying images…”. Because of this we need to see video art productions over and over again to fix their travelling concepts and  polysemy common to any plastic or static artistic creation more easily in our memory.

Isabel Hurley’s new project that offers video exhibitions  on her website is a decisive venture to breach the inertia of our artistic system, making them accessible over and over again and allowing us to reflect on the fragments of experiences that characterize video creation in Spain.

This first exhibition brings together three artists from successive generations who have innovated, and continue to do, since the 1970s.  Harley’s generous selection allows us to identify the careers of, and essential elements in the work of, Marisa González, Francesca Llopis and Marina Núñez. Three artists who share their feminist commitment and their explicit or latent but always constant interest in questions of gender.


Rocío de la Villa

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