Hybridity (hi-brid’i-te’) v.

[on site] video program:
Stan Vanderbeek Science Friction, 1959 10 min. US
Takeshi Murata Made in the Shade, 1997 3 min US
Guillermo Cifunetes Equivocation, 1997 5 min US
Guy Richards Smit Stand-up in Defense of Painting, 1997 6 min. US
Irene Gustafson/Julia Zay Screen Test #1, #2, #3, 2000 12 min. DE
Martin Arnold Alone. Life Wastes Andy Hardy, 1998 15 min. AU
Sam Mendes American Beauty,1999 (excerpt) US
Kristin Lucas Host, 1997 7:36 min US
                     Watch Out for Invisible Ghosts, 1996 5 min US

Each of these works define the term ‘hybridity’ in an individual way; video crossing borders with film and with the digital realm, moving image with performance and other mediums such as drawing, painting and collage. This program reflects on the fluidity of moving image and how it can include and re-interpret other forms of art.-lhb

BIOGRAPHIES OF (some of the) VIDEO ARTISTS:
Martin Arnold: "When you look at a strip of film you will at first see a regular sequence of frames that represednt a three-dimensional space. Those are the tracks the camera left behind; the apparatus inscribed itself into the materials. If you look more closely "into" the frame, you will see tracks of people and objects which were in front of the camera at the time of the recording".

Kristin Lucas is one of the most exciting of a new generation of young artists working in video, installation, and performance. Lucas uses her camera as a diaristic device, into which she unloads her anecdotal, performative mini-dramas. Her work resonates with a sense of social isolation and alienation from the computer/television/electronic media that she posits as a surrogate for personal interaction. The backdrop to Lucas's work is the empty world of day-time television, cable shopping channels and shopping malls.

Stan Vanderbeek 1927-1984 was born in New York and graduated from Cooper Union Art School in. In 1952, he went to the Black Mountain College of Art in North Carolina where he planned, performed and phtographed films but without film in camera as he couldn't afford it. Fot two years following Black Mountain, he made flip books. Constantly experimenting with new forms, he introduced into his films painted elements to create "filmic literature"

TEXT:
the following is an excerpt from the article: the dutch model: a fortuyn-ate tale by Aaron Betsky, the director of the Netherlands Architecture Institute in Rotterdam, from the magazine ARCHIS #4 2002: (http://www.archis.org) which discusses hybridity as it relates to Dutch architecture and the adaptive re-use of buildings and space.

"The Dutch always think that they can find and use more space, either by poldering in the sea or by using what there is in more efficient ways. To do so,however, all participants must engage in collective effort and negotiation-a system that has come to be known as the 'polder' model.

The result of all these conditions is a landscape that is indeed hybrid. The Dutch heartland (the triangle formed by the cities of Amsterdam, Utrecht, Rotterdam and The Hague) offers a vision of intensive spatial use, experimentation with building patterns and methods, spatial research and inhabitation of space that can stand as a model for the problems created by sprawl. Instead of traditional city cores surrounded by exurbs connected by expensive infrastructure, the Dutch model is one of a carpet of disparate uses, from residential to agricultural to industrial, that are closely interspersed. There is little sense of seperation, and every inch of land can potentially be used for something else. The infrastructure is so fine-grained as to allow for multiple uses."
-Aaron Betsky