Video Vibe: Arte, Musica e Video in Gran Bretagna

Gallery of The British School at Rome
11 May – 3 Jun 2000
and touring to Gallery of Modern Art, Bergamo; MAN, Nuoro; Salara, Bologna; Palazzo Ducale, Genoa; Argos, Brussels; CAC, Vilnius; Elektra Festival, Montréal.

Doug Aitken, Darren Almond, Charles Atlas, Clio Barnard, Richard Billingham, Anton Corbijn, COUM Transmissions, Chris Cunningham, John Currin, Edwin David, Mark Dean, Damien Hirst, Hilary Lloyd, John Maybury, Alison Murray, Georgina Starr, Derek Jarman, Yayoi Kusama, Sarah Miles, Ross Sinclair, Cerith Wyn Evans

exhibited works:
All The Time (Paranoid x 256 x 33 1/3)
Goin’ Back (The Birds/The Byrds x 32 + 1)

The exhibition ‘Video Vibe’, which opens at the British School at Rome on Thursday 11 May at 6.30 pm, explores those intersections where music culture and video meet and offers a number of examples of dialogue between the two media. The videos demonstrate that the relationship between sound and image is in a constant state of flux, where these two languages, which today are involved in an ever increasing dialogue, share similarities, differences and overlappings of two languages.

The exhibition, curated by Cristiana Perrella and Daniela Cascella, consists of five themed video compilations, three monitor pieces by Mark Dean, Ross Sinclair, Cerith Wyn Evans, and a video installation by Hilary Lloyd (Ewan, 1995).

The former compilation comprises videoclips generated by collaboration between bands, visual artists, film and videomakers. It includes Country House (Damien Hirst/Blur), Love Town (Yayoi Kusama/Peter Gabriel), The Queen is Dead (Derek Jarman/the Smiths), Halcyon Days (Orbital/Sarah Miles) Windowlicker and Come to Daddy (Chris Cunningham/Aphex Twin).

The latter presents videos made by artists in which music language and culture have an undeniable presence, including among others Kissy Suzuki Suck by Alison Murray, All Tomorrow’s Parties by Edwin David, Goin’ Back (The Birds/The Byrds) x 32 + 1 by Mark Dean, Jason Chopping by Richard Billingham.

The remaining three compilations provide a kind of “historical” background to the first two and are devoted to three indivisual phenomena: Throbbing Gristle – a group of performers/artists/musicians who in the late Seventies anticipated the most extreme and experimental tendencies of music and art in the broadest sense; Leigh Bowery – one of the most remarkable and influential figures of the transgressive and energetic music and art scene of 1980’s London; Scratch Video – a strand of video art born in the mid-Eighties, whose aggressive aesthetics stretched the boundaries between different media and which created new cross discipline fields of research for experimentation with video.

The catalogue of the show, published by Castelvecchi, features texts (in Italian and English) by Cristiana Perrella, Daniela Cascella, Maria Rosa Sossai, Luca Beatrice, in addition to specific pages and images related to all the videos in the show.

Video Vibe will continue with a tour of public venues in other cities in Italy, including Milan, Bergamo, Bologna, Nuoro, and in Europe, including Brussels and Geneva.

Video installation

Mark Dean, All The Time (Paranoid x 256 x 33 1/3), 1999
Hilary Lloyd, Ewan, 1995
Ross Sinclair, Nirvana Unplugged in Amsterdam, 1995
Cerith Wyn Evans, Kim Wilde Auditions, 1987

Programme Part I

Videoclip

Derek Jarman/The Smiths, The Queen is Dead, 6’, 1986
Pierre et Gilles/Marc Almond, A Lover Spurned, 5’30’’1989
John Maybury/Sinead O’ Connor, You Do Something to Me, 4’, 1990
Sarah Miles/Orbital, Halcyon Days, 4’, 1992
Maria Mochnacz / PJ Harvey, Man Size, 5’, 1999
Anton Corbjin / Depeche Mode, Walking in my Shoes, 4’57’’, 1993
Yayoy Kusama/Peter Gabriel, Love Town, 5’35’’, 1994
John Currin/Pulp, Help the Aged, 4’33’’, 1997
Chris Cunningham/Aphex Twin, Come to Daddy, 5’49’’, 1997
Doug Aitken/Fatboy Slim, Rockafeller Skank, 3’58’’, 1998
Damien Hirst/Blur, Country House, 5’, U-Matic, 1998
Clio Barnard / Black Box Recorder, Child Psychology, 4’06’’, 1998
Chris Cunningham/Aphex Twin, Windowlicker, 11’, 1999

Video d’artista

Alison Murray, Kissy Suzuki Suck, 18’, 1992
Edwin David, All Tomorrow’s Parties, (estratto), 1996
Ross Sinclair, The Sound of Young Scotland, Part 2, Volume 2, (estratto), 1996
Darren Almond, Schwebebahn (Day 2), 12’40″, 1995
Richard Billingham, Jason Chopping, (estratto), 1999
Georgina Starr, Draiiorgel de Nooderkroon, (estratto), 1999
Low Expectations, Abandabandon Low Expectations, 1995
Clio Barnard, Dirt and Science, 1998
Sarah Miles, Amaeru Fallout 1972, 10’, 1997
Mark Dean, Goin’ Back (The Birds/The Byrds x 32 + 1), 9’30’’, 1997

Programme Part II

Throbbing Gristle

After Cease to Exist, COUM Transmissions film, 20’, 1976
Recording Heathen Earth, estratto, 1980
Oundle School, estratto, 1980
Derek Jarman, TG Psychic Rally in Heaven, 8’, 1981
Destiny, estratto, 1981
Mission of Dead Souls, estratto, 1981
Derek Jarman, In the Shadow of the Sun, 54’, 1974/1980

Scratch video

The Duvet Brothers, Chat Show, 48’’, 1985
Gorilla Tapes, Santa Fe Trail, 3’07″, 1985
George Barber, Yes Frank, No Smoke, 7’07″, 1985
Gorilla Tapes, Till Death To Apartheid, 3’25″, 1985
George Barber, Absence of Satan, 4’28″, 1986
The Duvet Brothers, Pillow Talks, 1’32″, 1985
Kim Flitcroft & Sandra Goldbacher, Nights of the Living Dead, 1’55″, 1985
The Duvet Brothers, The Arms Trade, 3’37″, 1986
Tim Leandro, Face 2, 22″, 1986

Leigh Bowery

Baillie Walsh for Boy George, Generations of Love, 1990
Charles Atlas, Teach, 1992
Matthew Glamorre, A Smashing Night out, 9’13″, 1994
Mark Hasler, Death in Vegas, 6’, 1994
Performance at Fort Asperen, 9’39’’, 1994
Angus Cook, Flour (single screen version), 4’, 1995
John Maybury, from Read Only Memory, 1’57’’ (estratto), 1998


Documentation: