The role of hybrid media and error in the abstract motion picture
PRESENTATION: Wednesday, July 3. 11:00 @ MuseumsQuartier / Raum D
What do we mean by hybrid media, error in art and abstract motion picture? What relationships can be revealed in these connections? How does this triple unit affect the contemporary approach? What interrelations can be seen in the past, present, and future in connection with our issue? We look for answers to such and similar questions.
Unusual uses of applications or software open new horizons. The (experimental) artists are consciously looking for possibilities to make the program fail. They are playing against the apparatus/medium.
The abstract motion picture is the freedom of personal expression, it is the liberation of the eye.
The early, classical video art, due to the disadvantages of technology, as low resolution, unsharpness/blur, electro-colors, etc. – produced a much more abstract, picturesque and artistic world. This communication can be opposed to the “perfect” audible-visible world which has been realized nowadays by the renewed technologies of reproduction and representation.
In most cases, it is difficult to precisely envision what will happen to an electronic/digital file when we apply a series of modifications. We feel like a chance because we don’t understand the rules. Error and chance are not far from each other. The media type of communication is saturated by its own nature, with errors.
I illustrate these issues with some examples of contemporary arts, where analog technics with fusing digital methods create new artistic quality. Shusaku Kaji uses a random electrical signal oscillated by the analog step sequencer. Other modulated improvisations are my last series, where hybrid technique and errors produce a specific artistic nature too.
The full freedom, which is the basis of the abstract motion picture, provides the opportunity to use and apply a wide range of errors. In the abstract motion picture’ and sound’s world hybrid techniques make it possible to amplify the errors. The old and new methods together can produce a new quality of art which reflects the contemporary “feelings”.
Born in Hungary. He studied media-education and fine-arts in Budapest and Pécs.
He is an intermedia artist and art theorist. His artistic practice is concerned with the process of translation and fusion between different forms of media, exploring the creative possibilities of what might be lost or gained through such interpretation and exploring how getting new qualities of art on this way. He has exhibited widely in various international motion images’ and art festivals (for example, Punto y Raya – Iceland, Poland, MuVi editions – Spain, One Minute – Switzerland, Burapha – Thailand, VIVA – Malta, lAbiRynTh – Poland, NRW – Germany, Hungary: Super8, Mediawave, Retina, and Szolnok) and presented one-man shows (Poland, Thailand, Malta, USA, and Hungary). He is an associate professor at Kaposvar University, Hungary. He was the guest lecturer at different universities (Volda, Norway, Burapha, Thailand, Malta Univ., Wroclaw, Poland, Mugla-Bodrum, Turkey, Cracow, Poland, and Pécs, Hungary). He published 7 books. Gyenes gives talks in different international conferences, symposia (Poland, Turkey, Thailand, Malta, Rumania, and Hungary).
More on: http://gyenes62.hu