Interactivity
(inter’åktive-te) adj.

[BIOGRAPHIES OF (some of the) VIDEO ARTISTS]
Marina und Ulay Abramovic geboren in Belgrad 1960-1968 Arbeit an Ölgemälden 1965-1970 Studium, Akademie der Bildenden Künste, Belgrad 1970-1972 Diplom, Fortsetzung des Studiums, Magister 1970-1973 entstehen Sound-Environments 1972 Umzug nach London 1973-1975 Arbeit an Performances, Videos und Filmen 1973-1975 Lehrtätigkeit, Akademie der Bildenden Künste, Belgrad und Novi Sad seit 1976 Begegnung mit Ulay Zusammenarbeit an Performances, Filmen, Videos und Vorlesungen 1980-1983 Reisen in die Sahara,Wüsten Australiens, Gobi 1985-1987 mehrere Reisen nach China 1988 Marsch auf der Chinesischen Mauer danach arbeitet sie alleine Marina Abramovic lebt in Berlin, Paris und Amsterdam Einzelausstellungen mit Ulay (Auswahl) 1978 Installation One, De Appel, Amsterdam 1979 On the Way", Riverside Studio/Audio Arts, London 1984 You see what you feel/I see, Time based Arts, Amsterdam 1985 Galerie Tanja Grunert, Köln University Art Museum, Long Beach, Stedelijk Van Abbemuseum, Eindhoven, Kölnischer Kunstverein 1986 List Visual Arts Center, Cambridge, Massachusetts Musée St.Pierre, Lyon; Palais Wilson, Genf State University San Diego Ulay/Marina Abramovic, Marina Abramovic/Ulay.30 November/30 November,Ausst.Kat. Harlekin Art, Wiesbaden 1979 Ulay/Marina Abramovic. Marina Abramovic/Ulay. Two Performances an Detour, Katalog Art Gallery of New South Wales 1979 Ulay/Marina Abramovic: Modus Vivendi, Works 1980-1985, Ausst.Kat. Van Abbemuseum Eindhoven 1985 Interview by Bernhard Goy with Marina Abramovic. In: Journal of Contemporary Art, Volume 3, No. 2, New York City 1991 Drathen, Doris von: Kunst als Überwindung von Kunst. In: Künstler. Kritisches Lexikon der Gegenwartskunst, Ausg. 17, München 1992

Bas Jan Ader http://artscenecal.com/ArticlesFile/Archive/Articles1999/Articles1099/BJAderA.html

Cheryl Donegan defines a new generation of artists, many of whom are women, who burst onto the scene in the 1990s with a new conceptual art practice. Donegan's work integrates the time-based, gestural forms of performance and video with forms such as painting, drawing, and installation. Direct, irreverent, and infused with an ironic eroticism, Donegan's works put a subversive spin on issues relating to sex, gender, art-making, and art history. In a series of provocative tapes that define a new mode of video performance, Donegan creates exercises in masquerade, role-playing, and exposure. Using her own body as metaphor, she executes performative actions before the camera; these conceptual performances often result in or relate to process paintings and drawings. Donegan's works draw from a panoply of pop cultural and art historical references, from Jean-Luc Godard to the Beach Boys, from punk music to Barnett Newman's "zips" and Pollock's splatterpaintings. In her paintings, performances, and installations, Donegan often refers to the processes of art-making in the context of art history, including high Modernism and Abstract Expressionism. Cheryl Donegan was born in New Haven, Connecticut. She received her B.F.A. in Painting at the Rhode Island School of Design and an M.F.A. at Hunter College in New York. She was an artist-in-residence at ART/OMI, and Banff Center for Fine Arts, Alberta, Canada. Her tapes have been exhibited internationally in museums, galleries, and festivals including the 1995 Biennial Exhibition of the Whitney Museum of American Art, The Museum of Modern Art, and Guggenheim Museum Soho, New York; Philadelphia Museum of Art; White Columns, New York; Museum of Contemporary Art, Chicago; New York Film and Video Festival; 1993 Venice Biennale; Galerie Rizzo, Paris; the Biennale d'Art Contemporain de Lyon, France; and the Stedelijk Museum, Amsterdam.Donegan had one-person shows at Lotta Hammer, London; Baumgartner Galleries, Washington, D.C.; Basilico Fine Arts and the Elizabeth Koury Gallery, New York; and has had solo exhibitions in Nice, Paris, Berlin, and Milan. She lives in New York.

With 'Head', Donegan ushered in a new era of brash, low-tech performance video. Here she confronts sex, fantasy, and voyeurism in an autoerotic work-out performed to pop music. The tape records a direct performance action: Donegan unplugs the spout of a plastic container; a stream of milk spurts out. She catches the liquid in her mouth, swallows it, dribbles it back into the mouth of the container, licks the spout. As a culminating gesture, she spits the liquid against the backdrop, creating a kind of irreverent Action Painting. In this image of sexual "pleasure" and fantasy, Donegan is both subject and object, directing the action and performing for the camera without acknowledging its presence. When she exits the frame, the empty container and splattered wall look less like a scene of passion than the scene of a crime.

Peter Fischli and David Weiss have been collaborating since 1979 on a body of workthat celebrates‹with great humor and intelligence‹thesheer banality of everyday existence. As contemporary flaneurs, they observe their world with bemused detachment, reveling in the mundane and turning every undertaking into a leisure activity. Their earliest projects lampooned the seriousness of high art: for Wurstserie (1979) they playfully photographed curious arrangements of sausages and luncheon meats to emulate the tableaux of genre paintings. The iconic themes of Western culture are parodied in a 1981 ensemble of 250 roughly hewn clay figurines representing such extraordinary events as Anna O Dreaming the First Dream Interpreted by Freud; Marco Polo Showing the Italians Spaghetti, Brought Back from China; and For the First Time, Mick Jagger and Brian Jones Going Home Satisfied After Composing "I Can¹t Get No Satisfaction." By the end of the 1980s, the duo had expanded their repertoire to embrace an iconography of the incidental, creating deadpan photographs of kitsch tourist attractions and airports around the world. For their contribution to the 1995 Venice Biennale, at which they represented Switzerland, Fischli/Weiss exhibited 96 hours of video on 12 monitors that documented what they called "concentrated daydreaming"‹real-time glimpses into daily life in Zurich: a mountain sunrise, a restaurant chef in his kitchen, sanitation workers, a bicycle race, and so on.

Bert Schutter born in Assen, Netherlands now living in Almere Buiten, Netherlands 1965- 1970 Koninklijke Akademie 1970- 1971 Ateliers 63 Exhibitions 1981 (-) Museum Boymans van Beuningen, Rotterdam 1981 (-) Städtische Galerie im Lehnbachhaus, Munich 1983 (-) De Vleeshal 1984 (-) Swedisch Televison 1986 (-) Het Kruithuis, 's-Hertogenbosch 1988 (-) Schiedams Museum 1991 (-) La Virrain, Barcelona

William Wegman studied painting at Massachusetts College of Art and the University of Illinois, Urbana. He began producing short, performance-oriented videotapes in the early 1970s, which are considered classics. Many featured his canine companion, a Weimaraner named Man Ray. These tapes are dead pan parodies of "high art" using sight gags, minimalist performance, and understated humor. Describing the process behind his tapes, Wegman says, "I present a situation and develop some kind of explanation around it. By the time the story is over you get to know why that particular prop or mannerism was displayed." Recorded as single takes in real time, Wegman used portable video's intimacy and low-tech immediacy to create idiosyncratic narrative comedy. Wegman was among a group of artists to produce work through WGBH's Television Lab. Wegman has taped and photographed Man Ray's successor, Fay Ray.

DIALOGUE based on net.art works:
10.07.02 I was very interested in one of the net. art works on the lounge online site, where you can anonymously write down a big secret and then get another persons secret in return (it was a little disappointing though when there was no text in return: some kind of error). This kind of dialogue, that behaves like business-deals is, I think, also used when people praise one another. You give and you get in return. That work appeals to me because I have had this feeling before when a good friend tells me a very big secret, and I feel as if I should tell him one too!

10.07.02 my secret is : sometimes I just fall inside my head, I have no surface in my mind...you know how long it will take me to land?