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tours Recomposing The Universe
Jackie Hatfield
'...RECOMPOS[ING] THE UNIVERSE'
Coming from somewhere between sculpture, conceptual video and expanded film, I liked that Tina Keane worked in diverse ways, with an expanded vision of moving image, making participatory installations (Swing '78; See-saw '80); expanded monitor video sculptures (Bouquet/Video Tree '84; Demolition/Escape '83), performance and mixed media (Playpen '79, She '78; The Diver '87); film (Circus trio, '90; Deviant Beauty '96, Vampire Virus '97), site related (Under the Surface Part I underfoot and Under the Surface part II end of the line '91).

Her work is always multi-layered and complex. Imbued with a feminist aesthetic, the politics of femaleness, gender, and sexuality are inherent, not explicit, but woven throughout, there to be unpicked. The ideas have led Keane's experiment with many different mediums and changing technologies, from painting with pure light, site related neon, sound, performance, to film and video. With her installed, total artworks, Keane incorporates the audience into the theatre of the events, as corporeal participants in the technological environments and expanded cinema. Performativity takes place in front of the camera, the recorded body; and in the installation space the physical body of the viewer inhabits the artworks. As I've said, experimental cinema in the digital era extends the possibilities for participation, for the meeting between audience and moving-image, and enables a physical interaction between audience and screen. These ideas extend from the histories of expanded cinema and proto-cinema, and cinematic experiment in parallel with technological invention of image devices, and artists have been innovating the cinematic, at least since the futurists notated it in 1916, with their Futurist Cinema manifesto on expanding cinema (see F.T. Marinetti, 'The Futurist Cinema' Let's Murder the Moonshine: Selected Writings, Sun and Moon Press, L.A. 1991). Artists like Lynn Hershman Leeson, Chris Hales, Graheme Weinbren, Jennifer and Kevin McCoy, Karen Mirza and Brad Butler, Peter Weibel, etc., continue this tradition, experimenting with cinema's emergent languages and technologies. And experiment or innovation with film material doesn't end with digitality; its material and conceptual possibilities are only extended (see: Sean Cubitt's The Cinema Effect).

Still from Transposition by Tina Keane, 2004
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