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Video Presence: Tony Oursler's Media Entities

Video Presence: Tony Oursler's Media Entities VIDEO PRESENCE Tony Oursler’s Media Entities Nick Kaye The space after the light leaves the monitor; where life begins and the machine ends—the living rooms and bedrooms where the bodies are— these are the interesting spaces. Tony Oursler, in conversation with Mike Kelley, 19991 S ince his exhibition of The Waiting in 1992, Tony Oursler’s work has focused on the video image’s operation in the space and time of performance and encounter, explored in relocations of projected or screened images onto three-dimensional objects, including dummies and mannequins, flowers, spheres and abstract sculptural forms. Overtly theatrical in their negotiation of place, presentation and “projection,” while referencing historical and contemporary spectacle, including phantasmagoria and spiritualist practices, as well as popular reactions to technology, Oursler’s staging of these uncanny presences engages with psychological and perceptual responses to mediatized forms and signs. In the course of this activity, Oursler’s work has come to emphasize the experience and performance of “presence” in ways that depart from the overt displacement of the “authority” of “classical presence” that Chantal Pontbraid influentially identified with “the expression of performance through technical means” in her essay “The Eye Finds No Fixed Point On Which To Rest,” published in http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png PAJ: A Journal of Performance and Art MIT Press

Video Presence: Tony Oursler's Media Entities

PAJ: A Journal of Performance and Art , Volume 30 (1) – Jan 1, 2008

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Publisher
MIT Press
Copyright
© 2008 Nick Kaye
ISSN
1520-281X
eISSN
1537-9477
DOI
10.1162/pajj.2008.30.1.15
Publisher site
See Article on Publisher Site

Abstract

VIDEO PRESENCE Tony Oursler’s Media Entities Nick Kaye The space after the light leaves the monitor; where life begins and the machine ends—the living rooms and bedrooms where the bodies are— these are the interesting spaces. Tony Oursler, in conversation with Mike Kelley, 19991 S ince his exhibition of The Waiting in 1992, Tony Oursler’s work has focused on the video image’s operation in the space and time of performance and encounter, explored in relocations of projected or screened images onto three-dimensional objects, including dummies and mannequins, flowers, spheres and abstract sculptural forms. Overtly theatrical in their negotiation of place, presentation and “projection,” while referencing historical and contemporary spectacle, including phantasmagoria and spiritualist practices, as well as popular reactions to technology, Oursler’s staging of these uncanny presences engages with psychological and perceptual responses to mediatized forms and signs. In the course of this activity, Oursler’s work has come to emphasize the experience and performance of “presence” in ways that depart from the overt displacement of the “authority” of “classical presence” that Chantal Pontbraid influentially identified with “the expression of performance through technical means” in her essay “The Eye Finds No Fixed Point On Which To Rest,” published in

Journal

PAJ: A Journal of Performance and ArtMIT Press

Published: Jan 1, 2008

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