HARALD UHR

My curiosity led me to select Cerith Wyn Evans’ DEGREES OF BLINDNESS, presented at VIDEONALE.4, even though I don’t know it. But, from all too seldom opportunities, I know other touchingly beautiful works of the 1958 born artist which impress with intelligence imbued with a subtle sensuality. In 1990 the festival catalogue called his video an impressive glorification of all degrees of vision. And since the cast includes Leigh Bowery, Michael Clark and Tilda Swinton I am more than eager to see this film.

Video has been an established part of the art world since the 1990s. What is Videonale’s position on this? Initially a platform for the new genre, Videonale accompanies it, bundles distinct trends, evolves into its administrator and paves the way into the museums. The question arises as to what extent video production depends on the ›Videonale‹ format. One argument is the large number of submissions. However, since the middle of the 1990s, Videonale has regarded itself critically. In my eyes this self-questioning is precisely one, if not the decisive element for the right to exist of a festival called Videonale.