Video Art Distribution
From Alternative Art Market to Commercialization
Date08.05.2018 - 09.05.2018
Since the 1970s, in reaction to evolving video art, specialized distribution systems have been developed worldwide. As alternatives to the traditional gallery systems, video art distributors have introduced innovative structures for the sale, lending, and dissemination of such works of art. One important pioneer from 1971 onward was Electronic Arts Intermix in New York. Over the course of the following years, other initiatives were founded, for example, London VideoArts (now LUX), MonteVideo, and Time Based Arts in Amsterdam (later Netherlands Media Art Institute, now LIMA), Vtape in Toronto, Video Gallery Scan in Tokyo, and 235 Media in Cologne. Many of them still exist, or their work is being continued in other organizational forms.
Although these are conceptions for dissemination that have had and still have a lasting influence on the art system, this phenomenon has hardly been noticed at all thus far in art and media studies. The IMAI Foundation has provided impetus to research in this field with a comprehensive study of the media art agency 235 Media. The galleries that were the first in Germany to specialize in video art from the late 1960s onward have already been extensively researched: the television and later video gallery of Gerry Schum in Düsseldorf, the gallery space with video studio of the patron of the arts Ingrid Oppenheim in Cologne, and the Studiogalerie Mike Steiner in Berlin.
In contrast to them, video art distributors were motivated to develop new mechanisms for the production and dissemination of time- and technology-based art that took into account the specifics of this artistic genre. A concept of the initially unlimited—later increasingly limited—affordable edition was developed for reproducible works of video art. Whereas the uniqueness of the original or deliberately small editions provides the economic basis for galleries, video art distributors considered the medium’s inherent technical potential for reproductions of equal value that eliminates the difference in value between original and copy. The target audience, which for the conventional art trade is private collectors and museums, was expanded by video art distributors to include cultural organizations, festivals, educational institutions, libraries, television stations, and interested parties with a small budget.
This conference addressed on an international level the interactions between art production, the art market, and exhibition activity of media art. It worked out the historical conditions of the origins and the areas of responsibility of video art distributors, asked about their current fields of activity, and discussed the current challenges of Internet-based marketing strategies.
Location: NRW-Forum Düsseldorf
Tuesday, May 8
History of Video Art Distribution
Wednesday, May 9
The Present and Future of Video Art Distribution
|Words of Welcome
Hans-Georg Lohe (Head of Duesseldorf Department
Axel Wirths (Director of 235 Media, Cologne)
| Lost Media Alive: The FRIGO Experience
Rotraut Pape (Prof. of Film and Video, University of Art and Design, Offenbach am Main)
|Video-Vision/Tele-Vision: Art Leaving the
Conventional Cycles of Dissemination
Renate Buschmann (Director of imai foundation, Duesseldorf)
|How Video (Art) Became Expensive
Dieter Daniels (Prof. of Art History and Media Theory, Academy of Visual Arts, Leipzig)
|Electronic Arts Intermix (EAI): An Alternative
Model Across Time
Lori Zippay (Director of Electronic Arts Intermix,
|Distributing Artist Film and Video. Technical and Economic Challenges in a Digital Era
Rolf Quaghebeur (General Director of Argos, Brussels)
|Analogue Decades, Video Places and Distribution
Ulrike Rosenbach (Artist, Cologne)
|To Distribute or not. Finding Balance between Alternative Art Markets and Commercialization
Gaby Wijers (Director of LIMA, Amsterdam)
|235-->Audio-->Video--> Media. Video Art Distribution
Jessica Nitsche (Research Fellow, imai foundation, Duesseldorf)
|Daata Editions and New Models for Artist Commissioning, Distribution and Exhibition
David Gryn (Director of Daata Editions, London)
|An Insider‘s View on Video Art (Distribution) in Germany
A Conversation with Norbert Meissner (Artist, Leipzig)
|How Much Virtuality Can the Market Stomach?
Julia Sökeland (Director of blinkvideo, Hamburg)
|Setting Up Video Art Distribution in the UK: New, Different and Challenging
Julia Knight (Prof. Em. of Moving Image, University
Why Video Art Shouldn’t Rely on the Art Market
Video Gallery SCAN as Video Activism in Tokyo of
- Dr. Renate Buschmann
- Dr. Jessica Nitsche
- Lara Perski, M. St.
About the Noise in the Archives
A Diversity-Oriented Processing of the Audiovisual Collection of the IMAI Archives.
The Cassette Underground
A research project about archiving the alternative distribution channels of the cassette underground in North Rhine-Westphalia.
Fringe of the Fringe
A conference that seeks to bring together queer-feminist and antiracist strategies for archiving and cataloging the audiovisual documents of punk, postpunk, new wave, and industrial.
The video art channel IMAI-Play relies on a participatory presentation of the videos from the IMAI archive and invites users to curate, comment and discuss their own video programs.
Video Online Archive
cataloging/ presenting/ communicating
A project as part of the eHeritage funding program of the BMBF
The Media Art Agency 235 MEDIA
Its significance in terms of the conditions for producing, establishing an economic basis for, and internationalizing media art.
Two-year long-term archiving project at the imai foundation.
Case Studies on Restoration
Methods for the long-term preservation of media art installations.