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Themesicon: navigation pathOverview of Media Articon: navigation pathSociety
Man with a Video Camera (Fuck Vertov) (Garrin, Paul), 1989Yuppie Ghetto with a Watchdog (Garrin, Paul), 1989Spin (Springer, Brian), 1995
Voices from the Front – Testing the Limits (ACT UP)Tapp- und Tastkino (Export, Valie (Höllinger, Waltraud)), 1968

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over the USA, and put the term ‹video artist› in the news for the first time: the artist as video amateur and exemplary citizen (Garrin called it the «camcorder revolution»). Garrin condensed the events down into a video clip in «Man with a Videocamera (Fuck Vertov)» (1989).[33] Garrin achieved international recognition with the installation «Yuppie Ghetto with Watchdog» (1989–1990), which was later developed from this video. Brian Springer's video «Spin» (1995) was genuinely subversive: during the 1992 US presidential elections, Springer used simple, homemade satellite equipment to receive and record satellite feeds (unedited raw material for television stations). Springer's documentation, which made this unofficial satellite material public, shows how politicians and journalists operate behind the scenes and reveals how power and the media are inextricably entangled in the USA's spectacular TV democracy.[34]

In the 1990s, the concepts of interventionism and activism acquired a special significance for the art


business. The AIDS crisis made these approaches particularly relevant, in New York first of all, and linked political and cultural strategies firmly together. Poster actions and video documentations by various gay and lesbian groups like ACT UPVoices from the Front—Testing the Limits»), Gran Fury and General Idea[35] «targeted the homophobic subconscious of the state and its representatives.»[36]

Video as a medium of emancipation: From feminism to cyberfeminism

«When art took up the subject of ‹women› in the 1960s, female artists were speaking from the social fringe, as a minority, as a lone voice, which of course was ignored by the maledominated art business. Female artists made their presence felt in public with campaigns and performances, pamphlets and pictures that seem dramatic in places today—and were perceived by the public above all as women.»[37] Valie Export strapped the «Tapp und Tastkino» to her chest

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