eCLIPSe
[retro]perspective of the music video in 50 steps
Alva Noto. Uni acronym, 2011
For many 1975 was a pivotal year in the history of music. This was the year when Queen released the single Bohemian Rhapsody, accompanied by what was probably the first video in history aware of its status as a medium. Years later, in 1983, Michael Jackson paved the way for the video as a concept and industry support for music with his legendary Thriller. Since then, and initially thanks to MTV, which required every single released by record labels to be illustrated with audiovisual backing, video clips have earned undisputed respect.
In our view, it should be included within the visual arts as a separate discipline. In some cases it should even be viewed as avant-garde, though at times it admittedly makes compromises with the commercialism and function a music video must inevitably serve, which is to sell a song, a band or a singer. Surprisingly enough, many of the advances made in the visual mise en scène of art forms enjoying such unquestionable respect as film were originally conceived and rehearsed in music videos. And even the narrative rhythm of the video has set standards for spectators. Likewise, we ought to underscore its inextricable bond with the language of advertising. This exhibition endeavours to clear the way for a narrative we believe is critical to understanding the visual arts in the 21st century.
eCLIPSe surveys the creativity of music videos with a selection of the 50 videos that may be considered crucial for a proper appreciation of the discipline. Perhaps there are some missing but all that are included are beyond dispute. The clips are divided into several sections, to be screened in separate projections, starting with a historical overview and continuing with monographs devoted to who we believe to be the most seminal video directors: Michel Gondry and Chris Cunningham.
Curated by: Carlos Navarro
Collaborator: Rubin Stein
Exhibition Design: Carmen Castañón
Collaborating Board Member
In collaboration with
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