The purpose of this exhibition is to formulate a contemporary reading of Eugènia Balcells, Antoni Muntadas and Carles Pujol's preliminary videographic and audiovisual work. Projections, video installations and single-channel videos - created from the seventies - articulate a path around the artistic work of three pioneers in the use of video as an artistic tool. The itinerary begins with the exhibition of more than seventy documents - selected by Antoni Mercader - included under the title 35 ítems para documentar la irrupción del videoarte en España, 1974-1990 (35 items to document the irruption of video art in Spain, 1974-1990).

Eugènia Balcells analyzes the seduction strategies of cinema and television, pointing out the need for feminist positions in the field of representation, through the practice of found footage and appropriation. Antoni Muntadas studies the ideological mechanisms of the mass media, proposing alternative television experiences or suggesting cognitive displacements that critically involve the viewer. Carles Pujol considers the visual perception codes of space, investigating the aesthetic possibilities of analogue video from the documentation of the action of drawing and the participatory incorporation of the closed circuit.

If the concept "(re)viewed" refers to watching the videos from a contemporary viewpoint, the notion "(re)visited" emphasizes the act of exploring the installations, listening to their auditory dynamics. The "re-reading" corresponds to the initiative of the LOOP, which in this edition has begun the recovery, digitalization and online presentation of dozens of printed documents. Reviewing, revisiting and re-reading the work of Balcells, Muntadas and Pujol allows us a brief look, from a recent perspective, at the value of some pieces that are already part of the video art heritage of this country.

Images: Antoni Muntadas, On Subjectivity (About TV) (1978); Carles Pujol, 81 x 65 (1980); i Eugènia Balcells, Re-prise (1977)

Curator
Albert Alcoz

Documentation
Antoni Mercader

Acknowledgements
Julián Álvarez, Eugeni Bonet, Teresa Camps, Andrea Nacach and Josu Rekalde. HAMACA and MACBA