1. Home Tape Revised (Version 2), 1972, 28 Min.
"This tape reveals Benglis's technique of distancing the video
image from any sense of 'real' time by retaping images off the monitor
and narrating over the images. Benglis 'counteracts the perpetual
now of video time', in order to call the reliability of the medium
into question. In 'Home Tape', Benglis took a portable video tape
recorder with her when she visited her family in Louisiana. She
saw most of the experience through the video camera, thus giving
her a distance from an emotionally-involving situation" (Bruce
Kurtz, Arts Magazine, zit. nach http://www.vdb.org).
2. How´s Tricks, 1974, 34 Min.
"There is a crudeness to 'How's Tricks', Benglis's first venture
into narrative fiction. No attempt is made to hide the mechanics
of making the tape. At one point, while Benglis and Kaye argue about
the tape they are making of Reynolds, Kaye is seen reaching over
to turn off the video recorder—and thus the scene ends. The
Nixon footage exposes the media structure that props up public personae,
thus revealing the disjuncture between the media's presentation
and the behind-the-scenes reality. 'How's Tricks' points out how
easily television's 'magic box' is able to distort and deceive.
The glee and transparency with which the magic tricks are presented
also points to the willingness by which a captive audience is misled"
(Carrie Przybilla, Lynda Benglis: Dual Natures, zit. nach http://www.vdb.org).
3. Female Sensibility, 1973,14 Min.
"As two heavily made-up women take turns directing each other
and submitting to each other's kisses and caresses, it becomes increasingly
obvious that the camera is their main point of focus. Read against
feminist film theory of the 'male gaze', the action becomes a highly
charged statement of the sexual politics of viewing and role-playing;
and, as such, is a crucial text in the development of early feminist
video. 'This video is Benglis's emphatic response to the notion
of a distinctly feminine artistic sensibility and to the belief
in a necessary lesbian phase in the women's movement—ideas
that were often debated in the early 1970s'" (Susan Krane,
Lynda Benglis, zit. nach http://www.vdb.org).
LIT: Video Art. An Anthology, hrsg. von Ira Schneider, Beryl Korot,
New York and London 1976, S. 22-23, Abb. S. 23; Kunst und Video,
hrsg. von Bettina Gruber und Maria Vedder, Köln 1983, S. 82-83,
Abb. 82-83; Friedemann Malsch, Dagmar Streckel, Ursula Perucchi-Petri:
Künstler-Videos. Entwicklung und Bedeutung - die Sammlung der
Videobänder des Kunsthauses Zürich, Ostfildern 1996, S.
72-73, Abb. S. 72-73.
LINKS
http://www.germangalleries.com/Kuenstlerhaus_Bethanien/Kritik.des.Privaten.html
http://www.artnet.com/library/00/0078/T007881.asp
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