
Pipilotti Rist
[quote]Pipilotti is not interested in using video to criticise the media or to provide phenomenological reflection. She is interested in television as the jewel of culture pop. She follows radically on from MacLuhan and Nam June Paik, in the middle of the global village. In her monumental environments, (first one being La Chambre, an installation with a giant piece of furniture, 1994) she takes advantage of the sound and graphic potential of the television, and considers them as parts that form an atmospheric whole, consisting of design, fashion, sculptures and films and the omnipresence of music, which immerse the viewer into environments which have no clear cut boundaries or points of reference. In Art of the Millennium, published by Uta Grosenick and Burkhard Riemschneider by Taschen in 1999, a quote was chosen to sum up Pipilotti’s work
“messages conveyed on emotional and sensual frequencies can break more prejudices and habits than hundreds of pamphlets and intellectual tracts ” Moreover she deals with very contemporary problems, the difference in the sexes, identity, femininity and entertainment culture.
Although she plays herself in many of her videos, she does not always identify herself with her artefacts, but instead keeps an ironic distance, capable of being rebel and flirt. The identy of the artist as a woman is not played in the tragic way, but seen in a performative way, often alluded to in speech and singing with a specific mixture – mis-representation, a comic relationship with machines and a sense of humoristic provocation. Many more journalists have been happy to oppose this academic feminism. However in an article in 1996 (in: Parkett No 48 ), Nancy Spector identified the deep feminism in Pipilotti’s work, in terms of the Luce Irigray or Hélène Cixou interpretation of the word, assuming an exploitation of feminine values – fluidity, suppleness, plasticity were omnipresent with Pipilotti in terms of metaphors relating to the sea. When a journalist asked Pipilotti if she was a feminist, she replied to him “Yes, nobility obliges it”.. From her first videos to the middle of the nineteen eighties she presented her self on the stage with much indifference and much detachment (I’m not the Girl who Misses much, 1986 is a prime example), and in the concerts that she gave during the same period with the group “Les Reines Prochaines”, Pipilotti worked by continually interweaving her own character into her works, mixing creation with promotional speak, often taking full advantage of her status as a public figure. She composes her own music herself often reinterpreting well know tunes (ranging from John Lennon to Chris Isaak).
She uses a multitude of everyday objects (clothes, handbags, furniture) and designs her works as clips - coloured, lively, funny, sometimes aggressive, brief but as effective as commercial designers. The difference is the systematic introduction of elements of the unexpected, stripes, broomsticks, violent and blotchy colours, hazy and trembling images, saturation sound clashes. For Pipilotti this niche is the possible niche for the emergence of the poetic. Moving art, false naivety, these are the spearheads of Pipilotti’s work, close to childhood dream world, familiar and totally utopian. (LLH)[/quote]
[quote]
video: 640x464 01:13:12 29.96fps DivX 3-PASSES 1.1Mbps
audio: 48KHz 01:13:12 Stereo 155Kbps mp3[/quote]
A full 72 minutes of excellent quality video art

Pickelporno is particularly accomplished!
Thanks to my american friend who keeps giving me these beautiful movies

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