Authenticity (o’then-tis’e-te) n.

[0n site] video program:
Nam June Paik/Douglas Davis Suite 212, 1974 22 min US
Stansfield/Hooykaas Split Seconds, 1979 10 min. NL
Marinus Boezem Breathing Upon the Tube, 1971 3 min. NL
Dara Birnbaum Technology Transformation: Wonder Woman, 1978 7 min US
eddie d. poem#10, 1999 2 min. NL
Mark Shepard re:production, 1999 1 min. US
Bas Jan Ader I'm Too Sad to Tell You, 1971 3 min. NL

These works look at the inherent properties of the medium of video; focusing on it’s relationship to TV. Nam June Paik uses found footage from Korean TV and ‘massaged’ footage with Marshall McLuhan to create a series of ‘video collages’ to pioneer an exploration of how we are affected by television. Douglas Davis also critiques our relationship to television, as he looks at the TV as the object that it is as. Stansfield/Hooykaas and Marinus Boezem continue this as they create works where the television is a sculptural object. Dara Birnbaum and eddie d. use repetition of television footage as a form of emphasis; in Birnbaum's case to underline inherent sexism while eddie d. uses the repetition of language to create a kind of poetry. Mark Shepard re-works the devices of televison advertising to create a satire on it. Bas Jan Ader's I'm Too Sad to Tell You works within this context as a unwitting reference to daytime soap operas; is the artist really sad or not? does it matter?-lhb

[BIOGRAPHIES OF (some of the) VIDEO ARTISTS]
Dara Birnbaum is an architect and urban planner by training, she studied at the Carnegie Institute of Technology and the San Francisco Art Institute. She began using video in 1978 while teaching at the Nova Scotia College of Art and Design in Halifax, Nova Scotia, where she worked with Dan Graham. Recognized as one of the first video artists to employ the appropriation of television images as a subversive strategy, Birnbaum describes her early videotapes as "attempts at slowing down 'technological speed' in order to arrest movements of TV-time for the viewer. For it is the speed at which issues are absorbed and consumed through the medium of video/television, without examination and self-questioning, that remains astonishing." Recontextualizing pop cultural icons (Technology/Transformation: Wonder Woman, 1978-79) and TV genres (Kiss the Girls and Make them Cry, 1979) to reveal their subtexts, Birnbaum described her tapes as new "ready-mades" for the late twentieth century‹works that "manipulate a medium which is itself highly manipulative."

eddie d. born in Enschede, Netherlands now living in Amsterdam, NETHERLANDS 1985- 1991 AKI akademie voor de beeldende kunst/ afd. mediakunst Exhibition 1993 (-)De Marienbrug, Arnhem 1994 Duinkerken tentoonstelling 1 MK Expositieruimte, Rotterdam 1994 Duinkerkententoonstelling 2 De Gele Rijder, Arnhem 1995 (-) Rijksmuseum Twente, Enschede 1996 (-) Lok 01, Antwerp 1996 (-) Video Art Plastique, Heroville St Claire 1996 (-) Rialto, Amsterdam

Douglas Davis http://www.haverford.edu/psych/ddavis/d2vita.html

Hooykaas & Stansfield living in Amsterdam, Netherlands 1988 Museum of Memory VII Gemeente Museum Arnhem 1988 Video Viewpoint Museum of Modern Art, New York 1990 Museum of Memory VII Städtische Galerie im Lenbachhaus, München 1991 From the Musuem of Memoryto the Personal Observatory Galerie Katrin Rabus, Bremen 1991 Personal Observatory La Centrale, Montréal 1995 Abri-project Stedelijk Museum Amsterdam 1995 From the Personal Absorvatory Foro Artistico, Hannover 1995 Table of Oreintation Galerie Katrin Rabus, Bremen

Nam June Paik was born in Seoul Korea. Paik studied music history, art history, and philosophy at the University of Tokyo, where he graduated with a dissertation on Arnold Schoenberg. He then went to Germany in 1956 to continue the study of music history at the University of Munich. In Germany he met Karlheinz Stockhausen and John Cage who inspired Paik into electronic art. Both composers, Stockhausen and Cage influenced Paik through their ideas of composition and performance. Paik worked with Stockhausen in a studio for Electronic Music. He then got involved with the post neo-Dada art movement, fluxus. Fluxus was founded by George Maciunas.George invited Paik to join his group of artists and he accepted. Then he returned to Japan to conduct experiments with electromagnets and colour television, alongside electronic engineer Shuya Abe. The rise of new technology led him to use the video image. Today he is known as the father of video art and influences the younger generation of artists. http://www.geocities.com/namjunepaik/