According to the visual artists and composers attending this year, the interviews
were the most valuable part of the festival. In fact, it was said that
their work had never been discussed in such depth and that these interviews
should be made available, along with the screening, to the art world, and
universities in particular, on DVD.
Before discussing the interviews, I'd like to discuss the curatorial
process. Many submissions are eliminated because they are technically
unviewable (not all artists read the 'technical page' on the website which
discusses format issues); they are inappropriate (perhaps meant for installations,
not single screens or the work is made from appropriated video or their are
no rights to the music, etc.); they are too long; they are not fully realized,
etc. From the works that remain a selection is made of approximately
90-120 minutes of programming. The works chosen are the ones that
have succeeded on their own terms. Though the program is now announced
to the artists - so that they can make travel plans to attend the festival
- the curating work is just beginning.
Now each work is viewed several times over. There are 10, sometimes
20 possible orders considered. The criterion for these orders include:
genre; b/w or color; referential or abstract; 3D, 2D, or video; electronic
or acoustic or sound design or location sound/music; tempo; form; content;
length; intensity; emotional content (from humor to tragedy), etc.
All of these considerations are then weighed so that the pieces can be ordered
to focus on their individuality and originality. Also, the form of
the entire screening is considered, as it is linear and theatrical (meaning
there is one large screen, with sound system, on which the program is seen
sequentially in a dark room by a seated audience). All of these considerations
affect how the work is perceived in the final presentation.
In fact, the entire screening is a work of art itself. It needs must
have proportion, pacing, contrast, intelligence and integrity.
It is the relationship of one work to another that not only enchances
or detracts from each work - but that creates this greater whole - which
is the 'Program.'
Marco Villani, Genoa Italy
Michaela Eremiasova, Prague, Czech Republic
Stephanie Maxwell, Rochester, NY
Deborah Cornell, Boston, MA
Richard Cornell, Boston, MA
Thomas Liphard, Denver, CO
John Hawk, Aqua Dulce, CA
Carol Goss – curator - New York
The interviews are highly valued by the artists, musicians and composers.
Because of the intense scrutiny their work receives, the questions they are
asked are reputably more informed and provocative than any other context
the artists have experienced. This demonstrates that feedback about
individual work, the art form and the history of the art form in is too short
Marco Villani travelled form Genova Italy. Marco's video is taken from
the world of survelleiance, whether it be concensual or not. In "ReadyMadeLife"
he presents a tightly edited selection of monitor rescans from subway, locker
room and office complex security cameras.
Additionally, Carol Goss, a video artist and collaborator with many musicians
since 1974, curates and interviews the artists. Her first hand history
in the art form provides a rare perspective in art criticism. It was
suggested by attending artists at this year’s festival, who are faculty at
Calarts and Rochester Institute of Technology, that the Not Still Art Festival
screenings and interviews be made available on DVD for University Media Departments.
We would like to add Music Departments as well.