1. Arqueologías del Futuro _ Fundación Cerezales

    01:20:23

    from Fundación Cerezales Added 53 0 0

    Charlas de presentación de la exposición "Arqueologías del Futuro", comisariada por Bruno Marcos. En la Fundación Cerezales (León) hasta el 14 de junio. "Ruinas al revés. Un paseo de Smithson por Passaic". Por Bruno Marcos, comisario de la exposición. "Ni construir, ni deconstruir. Matta-Clark". Por Darío Corbeira. Más info: http://www.fundacioncerezalesantoninoycinia.org/node/1310

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    • Was die Erde sieht/ With the eyes of the earth

      12:56

      from Markus Karstieß Added 35 0 0

      Digging for Robert Smithsons "Asphalt Rundown" from 1969 in an abandoned quarry near Rome. The Video is part of the exhibition: MARKUS KARSTIESS ZEIGT/ PRESENTS CLAUDIO ABATE/ROBERT SMITHSON WAS DIE ERDE SIEHT/ WITH THE EYES OF THE EARTH Exhibition 17 JANUARY - 27 FEBRUARY 2015 VAN HORN, Düsseldorf, Germany The exhibition revisits the original site of Robert Smithsons first earthwork and consists of: Previousely unpublished images of the "Asphalt Rundown" and the "Mirror for Italy" installation at Galleria L'Attico in 1969 by Claudio Abate. The original exhibition Manifesto (poster) and invitation card. Scholar's Rocks and a video by Markus Karstieß digging in an abandoned quarry near Rome for the remains of Asphalt Rundown after 45 years. A text in German and English by Sylvia Metz is available at: http://www.karstiess.de ©Karstiess/VG Bild-Kunst, Bonn 2014

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      • Spiral Jetty, part II

        08:18

        from Key Works of Art Added 15 0 0

        ...an adventure following Robert Smithson. Created @ KABK part time fine art 2013. All rights reserved - Ai, Marina, Freerk

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        • Jetty

          03:20

          from VITA BREVIS FILMS Added 4,879 28 4

          Robert Smithson began the Spiral Jetty in 1970, and would die just three years after its completion. His death would roughly coincide with a period of submersion, during which the jetty was covered by the water level of the great salt lake for decades at a time. Forty-three years later the Spiral Jetty is exposed and visited daily – appreciated not just as a local monument but as earthwork for a new generation to contemplate. Learn more: http://www.robertsmithson.com/ Produced by www.VitaBrevisfilms.com & http://videowest.kuer.org Director: Skylar Nielsen Himself: Julian Sands Producer: Elaine Clark Cinematography: Joshua Fletcher & Lance Clayton Original Music: http://giantframe.com // Jesse Quebbeman-Turley & Luke Williams Colorist: Jake Penrose Production Assistant: Stephen Lupsha

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          • Atlantis - 1 minute clip

            01:02

            from Elise Rasmussen Added 35 1 0

            In 1970, Robert Smithson, with the permission of the Canadian government, began production of "Glass Island/Atlantis," an installation on an unoccupied [by humans] islet near Vancouver. The concept was to fill the island with 100 tons of broken glass, allowing natural forces to erode the glass so that overtime it would return to its original state as sand. With the glass en route from California by train and his project gaining media attention, environmentalists lobbied to stop the project. The government ceded to the protestors and reneged their approval. This caused much anguish for Smithson and eventually led him to look for sites within the United States that would not be under such restrictions. His search led him to Salt Lake and his most known work, the Spiral Jetty. My video marries footage and recordings from Smithson’s archives and realized works with video from my 2014 visit to Miami Islet, revitalizing and reflecting on his failed project and the mythologies of Atlantis as a metaphor for the artistic process.

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            • VBF - Spiral Jetty BTS

              00:30

              from Vita Brevis Films Social Added

              Forty four years later Robert Smithson's Spiral Jetty still inspires. Watch our behind the scenes for upcoming film featuring the Spiral Jetty. A collaboration with actor Julian Sands and VideoWest.

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              • Carson Beach II

                02:00

                from Carly Troncale Added 9 0 0

                The topography of Carson Beach is explored in four 30-second videos. Different vantage points, distances and animation techniques are explored in order to fully understand the slopes, grass texture and atmosphere of the beach landscape. The Rhino flythrough animation explores three different elevations of the topography of Carson Beach, Boston simultaneously, then centering focus on the middle elevation where the grass is growing in the landscape. The next clip is footage taken at the site in October, 2014. It depicts the three different elevations with visitors exploring the landscape. The last clip is a video of Nancy Holt walking through swamp grass as directed by Robert Smithson. I wanted to include this clip because it shows one thing that the site footage did not, and that was walking through the center of the landscape, through the grass. The center patch or planting of grass is typically not entered into. We usually keep to the paths so as not to disturb the ecology of the area as well as to keep ourselves clean. This iconic video of Smithson and Holt exploring this area- albeit uncomfortably- is a reminder of the feeling of going into this off-limits patch of grass.

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                • MILE LONG DRAWING MADE BY DRIVING

                  03:02

                  from NIKOLAJ Recke Added 99 1 0

                  A One Mile drawing made by driving © Nikolaj Recke 2013 The dust from the one mile drive became one mile drawing in the air. With gratitude to Walter de Maria's Mile Long Drawing from Mojava Desert, 1968. Musik Jakob Glæsner In 1968 Walter de Maria made his first Earthwork " Mile Long Drawing" in the Mojave Desert. Two one Miles parallel chalk lines drawn up and left desolate back into the landscape. In addition to the work, which has a natural built-in impermanence, disappeared Walter De Maria's original documentary photography and there are now only a few photographs of the work from that time. Among the photos are the iconic where he is and playing "dead" at the end of his Mile. The video version here of his "drawing" is made out of one mile drive. When driving across the dry deserts surface, a "dust - cloud - track" from the car appears. This "drawing in the air" disappear after a few minutes. Walter de Maria's "Mile Long Drawing" has today a great historical significance as it is considered one of the first Land Art projects and the work was a starting point for him in his search for "a sense of infinity”.

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                  • SWAMPS NOW! (or, DO YOU WISH TO DIRECT ME)

                    06:05

                    from L. Klotzman Added 35 0 0

                    An six-minute experimental theatre production, in which Robert Smithson (as Gustave Courbet reincarnated) directs his Camera Operator wife Nancy Holt (as performed by Lynda Benglis) through a psychedelic landscape which is simultaneously a topology of the mind, metaphor for sexuality, mimesis of the body, and mirror for heterosexuality. The visual language of "SWAMPS NOW! (or, DO YOU WISH TO DIRECT ME)" gestures toward Luce Irigaray's formalist analyses of sex, indulging scopophilia while blurring the lines between the phallocentric and the vaginal, the hard and the soft, the dry and the wet, the passive and the aggressive. Thus, it questions the means and methods by which one navigates through sexual space via binary sex distinctions, and attempts to queer that vantage in both explicit and confusing ways.

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                    • LAND ART - Il mondo come spazio dell’opera d’arte - Germano Celant

                      50:29

                      from DigitalePLAY Added 3 0 0

                      Guarda un estratto su http://www.digitaleplay.net/dp/11-land-art-il-mondo-come-spazio-dellopera-darte-germano-celant/ Negli Stati Uniti la seconda metà degli anni Sessanta è caratterizzata da profonde tensioni politiche e sociali che sfociano nel clima di protesta che in breve raggiungerà anche l’Europa. I primi drammatici effetti sull’ambiente causati dalla massiccia industrializzazione portano alla nascita di un pensiero ecologista che propone nuovi valori e un polemico ritorno alla natura. Anche l’arte si fa interprete del generale desiderio di cambiamento. Attratti dalle possibilità degli ampi spazi naturali, alcuni artisti individuano in essi l’area operativa per le loro opere, mossi dalla volontà di fuoriuscire dai limiti spaziali del museo e in generale dai luoghi tradizionali dell'arte. Nasce così la land art, basata sul confronto con i fattori dell’entropia, del caos e del tempo, inteso tanto in senso geologico quanto meteorologico: i land artisti non puntano tanto al risultato finale, all’opera d’arte come oggetto finito, quanto al processo e alla realizzazione di un’esperienza esemplare. I deserti, le foreste e le coste sono i palcoscenici ideali per le loro azioni, che utilizzano gli elementi naturali per realizzare opere su vastissima scala. Le linee tracciate da Walter De Maria nel deserto del Mojave, lo scavo profondo di Michael Heizer sul fianco di una valle in Nevada, le rocce di basalto che compongono Spiral Jetty di Robert Smithson, e ancora gli Alberi di Giuseppe Penone, sono opere che esplorano il potenziale artistico di ambiente e natura, e gli effetti del tempo su gesti umani e materiali naturali. L’esplorazione di queste opere porta lo spettatore ad intraprendere una vera e propria iniziazione conoscitiva, un viaggio avventuroso alla riscoperta del rapporto tra uomo e natura. CONTENUTI 1. INTRODUZIONE LA POETICA DEI GRANDI SPAZI 2. Walter De Maria e l’interazione con la natura 3. Lo spettacolo degli elementi naturali 4. Michael Heizer, lo scultore della terra 5. Scolpire il paesaggio IL PAESAGGIO VIVENTE 6. Richard Long e il cammino del tempo 7. Giuseppe Penone e l’armonia con l’ambiente 8. Tempo dell’uomo e tempo della natura IL MONDO COME SUPPORTO 9. Land art tra passato e presente 10. L’architettura del paesaggio 11. Dennis Oppenheim e il marchio sul territorio 12. Robert Smithson e la tensione verso l’infinito 13. La simbiosi con la natura 14. James Turrell e il colore del tempo 15. Conclusione

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