Vasulka Steina

Publié le par Olivier Lussac

Since the mid-1970s, Steina has explored intricate transformations of vision, space and sound, through a dynamic confluence of digital technologies, mechanical devices and natural landscape. After producing a pioneering body of work with Woody Vasulka in the early 1970s, Steina has pursued several distinct inquiries in her more recent videotapes and installations: The electronic interrelation of sound and image; the use of mechanized, pre-programmed image devices for phenomenological explorations of perception, space, and modes of seeing; and the textural fusion of digital and "real" imagery and sound to create layered spatial and temporal systems. In many of her works, the natural landscape of the American Southwest is integral visual material.
In 1975, Steina began Machine Vision, a series of tapes and installations for which she devised mechanical systems with programmed functions -- optical, motorized or rotating devices that include spherical mirrors, prisms, and cameras with lens mobility. Used with her signature electronic manipulation and landscape imagery, these devices resulted in exhilarating redefinitions of physical and representational space. In richly textured works such as Voice Windows (1986) and
Lilith (1987), Steina manipulates digital and camera-generated images, "real" and altered sound with haunting effect, constructing dense layers and multiple perspectives that fuse the natural world and technology in space and time.
Steina's project of manipulating and fusing the "real" and the electronic, sound and image, has in recent years taken the form of performances in which she returns to her roots as a musician. Transposing the strategies of her early Violin Power to a theatrical scale, Steina performs on a violin that digitally generates and controls a progression of projected images.
Steina Vasulka was born in Reykjavik, Iceland in 1940. She studied at the Music Conservatory in Prague, 1959-63, and emigrated to the United States in 1965. With Woody Vasulka, she has won numerous awards; their collaborative works have been widely exhibited internationally (see Steina and Woody Vasulka). Exhibitions of her individual works have been seen at festivals and institutions including Centre Georges Pompidou, Paris; The Kitchen, New York; Museum of Art, Carnegie Institute, Pittsburgh; The Jonson Gallery, University of New Mexico Art Museum, Albuquerque; and the Whitney Museum of American Art Biennial, among many others.
Steina lives in Santa Fe, New Mexico.

Steina explores transformations of image, space and sound through a dynamic confluence of digital technologies, mechanical devices and natural landscape. After producing pioneering work with Woody Vasulka in the 1970s, Steina focused on the electronic interrelation and manipulation of sound and image. Fusing digital and "real" imagery to create layered spatial and temporal systems, she often uses pre-programmed devices to explore perception and vision.

Violin Power  1970-78, 10:04 min, b&w, sound
Orbital Obsessions  1975-77; revised 1988, 24:25 min, b&w, sound
Flux  1977, 8 min, color, sound
Steina: Selected Works  1979-82, 29:52 min, color, sound
 Bad  1979, 2:14 min, color, sound
Urban Episodes  1980, 8:50 min, color, sound
Summer Salt  1982, 18:48 min, color, sound
Cantaloup  1980, 27:54 min, b&w and color, sound
Selected Treecuts  1980, 8:11 min, color, sound
Voice Windows  1986, 8:10 min, color, sound
Lilith  1987, 9:12 min, color, sound
A So Desu Ka  1994, 9:40 min, color, sound
Orka  1995, 16 min, color, sound
Pyroglyphs  1995, 27:20 min, color, sound
The West  1998, 28:25 min, color, sound
Trevor  1999, 11 min, color, sound
Warp  2000, 4:30 min, color, sound

Publié dans Biographies

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