The Video, the City, and the Spectator: The Architecture and Its Bodies in Front of a Video Camera
This paper is an investigation into the kinds of spectatorial relationships that could be generated when a moving image (video, in this case) presents a city within a political framing. To this end I will analyse three different case studies in which the city—its architecture, and its population—is...
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| Format: | Article |
| Language: | Catalan |
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Universitat Oberta de Catalunya
2021-01-01
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| Series: | Artnodes |
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| Online Access: | https://raco.cat/index.php/Artnodes/article/view/373933 |
| _version_ | 1819292348896509952 |
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| author | Lorenzo Lazzari |
| author_facet | Lorenzo Lazzari |
| author_sort | Lorenzo Lazzari |
| collection | DOAJ |
| description | This paper is an investigation into the kinds of spectatorial relationships that could be generated when a moving image (video, in this case) presents a city within a political framing. To this end I will analyse three different case studies in which the city—its architecture, and its population—is the polemical common ground of the artwork: Guilty Landscape episode I—Hangzhou by Dries Verhoeven (2016), Sign on a Truck by Jenny Holzer (1984), and Història Urbanística by Video-Nou (1978). In my argumentation, I will adhere generally to Jean Baudrillard’s conceptualisations in terms of media “responsibility”, and those of Jacques Rancière when focused on the term “dissensus”, understood as the essence of politics. Importantly, and worth emphasising, all moving image works are able to mirror the spectator who, through different devices and spatial settings, becomes an active part of the representation itself: and a representation that does not require a form of response is a curtailment that does nothing but amplify the decision-making power of the powerful. Instead, Dries Verhoeven, Jenny Holzer, and Video-Nou confront us with their representations and bid us towards an active personal participation in its construction. Moreover, this could be considered as a reflection upon what might feasibly be achieved today in architecture and urban representation through various new media and their intersections with the moving image and performative arts. |
| first_indexed | 2024-12-24T03:53:07Z |
| format | Article |
| id | doaj.art-8d016eab46464fcc9709da2c95e0819f |
| institution | Directory Open Access Journal |
| issn | 1695-5951 |
| language | Catalan |
| last_indexed | 2024-12-24T03:53:07Z |
| publishDate | 2021-01-01 |
| publisher | Universitat Oberta de Catalunya |
| record_format | Article |
| series | Artnodes |
| spelling | doaj.art-8d016eab46464fcc9709da2c95e0819f2022-12-21T17:16:32ZcatUniversitat Oberta de CatalunyaArtnodes1695-59512021-01-012710.7238/a.v0i27.373933The Video, the City, and the Spectator: The Architecture and Its Bodies in Front of a Video CameraLorenzo Lazzari0University of UdineThis paper is an investigation into the kinds of spectatorial relationships that could be generated when a moving image (video, in this case) presents a city within a political framing. To this end I will analyse three different case studies in which the city—its architecture, and its population—is the polemical common ground of the artwork: Guilty Landscape episode I—Hangzhou by Dries Verhoeven (2016), Sign on a Truck by Jenny Holzer (1984), and Història Urbanística by Video-Nou (1978). In my argumentation, I will adhere generally to Jean Baudrillard’s conceptualisations in terms of media “responsibility”, and those of Jacques Rancière when focused on the term “dissensus”, understood as the essence of politics. Importantly, and worth emphasising, all moving image works are able to mirror the spectator who, through different devices and spatial settings, becomes an active part of the representation itself: and a representation that does not require a form of response is a curtailment that does nothing but amplify the decision-making power of the powerful. Instead, Dries Verhoeven, Jenny Holzer, and Video-Nou confront us with their representations and bid us towards an active personal participation in its construction. Moreover, this could be considered as a reflection upon what might feasibly be achieved today in architecture and urban representation through various new media and their intersections with the moving image and performative arts.https://raco.cat/index.php/Artnodes/article/view/373933Moving imagearchitecturevídeopolitical actionspectatorship |
| spellingShingle | Lorenzo Lazzari The Video, the City, and the Spectator: The Architecture and Its Bodies in Front of a Video Camera Artnodes Moving image architecture vídeo political action spectatorship |
| title | The Video, the City, and the Spectator: The Architecture and Its Bodies in Front of a Video Camera |
| title_full | The Video, the City, and the Spectator: The Architecture and Its Bodies in Front of a Video Camera |
| title_fullStr | The Video, the City, and the Spectator: The Architecture and Its Bodies in Front of a Video Camera |
| title_full_unstemmed | The Video, the City, and the Spectator: The Architecture and Its Bodies in Front of a Video Camera |
| title_short | The Video, the City, and the Spectator: The Architecture and Its Bodies in Front of a Video Camera |
| title_sort | video the city and the spectator the architecture and its bodies in front of a video camera |
| topic | Moving image architecture vídeo political action spectatorship |
| url | https://raco.cat/index.php/Artnodes/article/view/373933 |
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