SCCA-Ljubljana

	PROJECTS
	VIDEO/ARCHIVE
	SCHOOL
	SERVICE

/ Home / About / Publications / Library / DIVA online / SLO

No Nails, No Pedestals
Studio 6
Exhibitions
Researches

DIVA Station
  Archiving Practices
  Videodokument
  Videospotting
  Artservis Collection
  Internet Portfolio

World of Art
Library

Artservis
ArtsLink
Evrokultura

A) PROJECTS
No Nails, No Pedestals
Studio 6
Exhibitions
Researches
Coproductions, Partnerships and Cooperations

B) VIDEO/ARCHIVE
DIVA Station
  Archiving Practices
  Videodokument
  Videospotting
  Artservis Collection
  Internet Portfolio

C) SCHOOL
World of Art
Library

D) SERVICE
Artservis
ArtsLink
Evrokultura
Cultural Contact Point (CCP)
ALF Contact Point in Slovenia

SCCA, Center for Contemporary Arts - Ljubljana
Metelkova 6, SI - 1000 Ljubljana
Tel.: +386 (0)1 431 83 85
Fax: +386 (0)1 430 06 29
e-mail: info[at]scca-ljubljana.si

Vizitka

Profile

Newsletter
add e-mail / News Archive

COOPERATIONS:

GAMA
(Gateway to Archives of
Media Art)
On-AiR
(European tool for artists)
VideoLectures.net
(video lectures repository)

MEMBER OF:
Asociacija
(the association of non-government organisations and independent creators in the field of culture and art)
CAE
(Culture Action Europe)
ALF
(Anna Lindh Foundation)
IKT
(International Association of Curators of Contemporary Art)
InSEEcp
(Informal SEE Network of Cultural Portals)
On-the-Move
(cultural information network)
Cultural Quarter Tabor
(the association of organisations from the neighborhood Tabor in Ljubljana)

DIVA Station
DIVA Station in the Bibliothèque nationale de France - symposium about the emergence of video art in Europe

25 & 26 May, 2016

DIVA Station in the Bibliothèque nationale de France - symposium about the emergence of video art in Europe

Barbara Borčić participated at international symposium in Paris: The Emergence of Video Art in Europe: history, theory, sources and archivesin Bibliothèque nationale de France and INHA – Institut national d’histoire de l’art, 25 & 26 May 2016. The goal of the symposium with speakers from different European countries was to present an alternative to the dominant narrative of video art history in which American art is given the most attention.

The focus was on the conditions of emergence of video art in Europe: How was the technique introduced? What were the channels for the circulation of works and artists (exhibitions, festivals)? What was the role played by art schools and by artists' associations? How was video theorized as an art form? On the second day, the focus was on the presentation of archives related to video art and the panel dedicated to the situation of archives and resources in several European countries.

Barbara Borčić

More: The announcement of the event

[Published June 7, 2016]