On the last tutorial with Jasmine Johnson I have been encouraged to develop my research and to explore video options. Recommended artist are Janet Cardiff, Susan Philipsz and Erica Scourtu.

Janet Cardiff is Canadian artist who works with sound installations, especially a form she calls audio walks. She works in collaboration with her husband and partner George Bures Miller.


“The Dark Pool” was the first multimedia installation collaboration Cardiff and Miller created and showed in 1995 in Vancouver. The work consists of a dimly lit room, furnished with cardboard, carpets, and collected ephemera and artifacts, through which visitors move, triggering sounds such as musical segments, portions of conversations, and bits of stories. Cardiff and Miller consider the work very personal and, despite offers, have not sold it. Cardiff and Bures Miller represented Canada at the 49th Venice Biennale with ‘Paradise Institute’ (2001), a 16-seat movie theatre where viewers watched a film, becoming entangled as witnesses to a possible crime played out in the real world audience and on the screen.’

Susan Philipsz is a Scottish artist who won the 2010 Turner Prize. Originally a sculptor, she is best known for her sound installations. She records herself singing a cappella versions of songs which are replayed over a public address system in the gallery or other installation.

Philipsz predominantly creates sound installations using recordings of her own voice that are played in specific geographical sites to “heighten the visitor’s engagement with their surroundings while inspiring thoughtful introspection.”

Erica Scourti  is an artist based in the UK whose works which combine digital media, performance, the web, and video and have been exhibited at The Brighton Photo Biennial, The Photographers’ Gallery in London and The Hayward Gallery Project Space.  Her performance project, Life in Adwords (2012), involved her keeping a diary by email to her Google account and creating videos based on the advertising targeted to her as a result.
Scourti’s audio work is pressed onto visuals from spliced clips of found footage on YouTube, gives a better understanding of this type of object in art. Key words in her work are typed into search engines such as “woman” and “nature”, while yielding stock footage files that can be ripped and edited into new entities; further disseminating into others work. “In ‘Citizen Choice’ made earlier in 2010, ‘I used stock video paired with audio taken from positive affirmation podcasts” Scourti explains, “this is a clearly appropriative work, directly ripping off the original images and audio files”.
Scourti sees video mpegs as a material to work with. They are an “existing language provided by the stock as the starting point for (my) re-performances”. These are ‘collaborations’ as such, engaging with existing clichés and representations of life – “especially women in nature”, she comments, “which are socially encoded and not purely my own”. Afterwards the works become freely available on YouTube, well-tagged and distributed, once again becoming stock, ready to be appropriated.’

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