CONICET | Buscador de Institutos y Recursos Humanos

The proposed collaborative presentation takes into consideration two problematically similar situations, i.e. Argentinian and Italian analogue video preservation. Since the seventies, both in Argentina and Italy, video has been the main recording format of key historical events and social processes, as well as indispensable cultural and artistic experiences. Moreover, home VCR has served as a strategy for national broadcast documentation, since most TV stations have reused their tapes, poorly digitized the remaining ones, disposed of them and currently refuse to give free access to the materials. In most cases, the surviving tapes have not been preserved by any national institution, preventing our understanding of video as a media for collective memory resistance.The presentation will analyse the case study of the 2015 re-enactment of the video exhibition that took place in Turin in 1980 (Videoarte a Palazzo dei Diamanti. 1973-1979). The aim of the original exhibition was to show the seventies? video production of the public Centro Video Arte (1973-1994) in Ferrara. The different typologies and functions of video, i.e. artistic, didactic, social, documental, were all showed at the 1980 exhibition while the 2015?s re-enactment set up only the first category of videos, i.e. artistic ones, to open a reflection on video (art) historiographies and canonization. Comparing what historians have considered as video-art and video-practices in the last decades with what was considered to be video (art) in 1980, it is possible to notice that there is still a lot to be said regarding, but not only, video history. In this context, analogue video preservation offers the possibility of focusing on undervalued materials, discovering (counter) histories, giving birth to diversified meanings and registering a different set of poetics and politics of social self-representation -thus, becoming a political project.

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