Personen

Klink Charlotte

Charlotte Klink

promoviert auf dem Gebiet der Kunsttheorie.

Titel der Dissertation: „Transformation of a Missed Encounter. Repetition and the New in Contemporary Video Art.“
Betreuung: Prof. Dr. Felix Ensslin

  • Kurzvita

    Charlotte Klink
    ist Künstlerin und Doktorandin an der Staatlichen Akademie der Bildenden Künste Stuttgart und Stipendiatin des „Minerva Fellowship Program“ der Max-Planck-Gesellschaft an der Universität von Tel Aviv. Sie hat zahlreiche Ausstellungen und Konferenzen mitkuratiert und organisiert, darunter das Symposium „Ästhetik des Fleisches“ (2011) und die Ausstellung „No Place to Hide“ (2013), und unterrichtet Einführungsseminare zur Ästhetik und zeitgenössischen Kunst an der Kunstakademie Stuttgart. Ihre Dissertation trägt den Arbeitstitel „Transformation of a Missed Encounter. Repetition and the New in Contemporary Video Art” und beschäftigt sich mit den Arbeiten der Künstlerinnen Yael Bartana und Keren Cytter. Sie ist Mitherausgeberin des Sammelbandes Aesthetics of the Flesh, erschienen bei Sternberg Berlin (2014).

  • Laufende Dissertation

    „Transformation of a Missed Encounter. Repetition and the New in Contemporary Video Art.“
    Kurzfassung

    My dissertation seeks to determine the relation of contemporary video art and repetition and how this repetition operative in video is connected to a notion and possibility of the emergence of a new, that is to say of something that exceeds a mere repetition. I will show how contemporary video is invested in repetition, starting out from one of the most influential texts written on the then young discipline of video, Rosalind Krauss’ “Video: The Aesthetics of Narcissism” (1976). By so analysing the structural framework defining the discipline I will show that there has been a push away from narcissism and towards repetition in video. Furthermore, I ask what this means for the discipline’s medium and its subject and  offer a new structural framework to think about and define contemporary video by using the concepts of Siegmund Freud, Jacques Lacan, Gilles Deleuze and others. By focussing on the works of the two Israeli artists Yael Bartana and Keren Cytter I develop this analysis, as both artists grant (very differently from one another) a clear insight what this investment with repetition in video means and, moreover, offer two ways to transgress this repetition to create a new, innovative art work. While those two form, as it were, the “main pillars” on which this thesis is constructed, the study aims to give a comprehensive analysis of what video is today and how it differs from other artistic disciplines such as film or painting. 

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