Another notable dimension of Gerz’s work here has been his very use of video as part of the performance’s overall mechanisms, not only as screen transmitting pre-recorded images and sound, but also in the form of closed-circuit television with a camera, recording live... … we had to put together rediscovered bits. For example, for «Pionniers» we only had films taken by Gerz’s camera that filmed the audience. It happened at Heidelberg, Banff and Paris. We had audio recording of the text in English, French and German. We also had a picture of the stage from Banff, in the dark, with a light that was used by Gerz to light the audience up. With the whole, we were able to recreate the whole performance. We just put an explanation at the beginning of the film.Georges Heck 2000
Jochen Gerz is not a video artist. For him, video as a medium is, first and foremost, the tool that best allows him to lay down the conditions of his artistic production in a (post) industrial society. Since video was not invented for art, it has become accessible as a tool - in the same way as photography or writing - to be used by the artist as well as the public, with both becoming the consumers of the same industrial product. … This approach which consists in reprocessing different media, is to be understood in a framework of sociocultural use, and so it amounts to a specific approach, which is not aimed directly at art, but at the different ways in which art is appropriated.Marion Hohlfeldt 2002. Translated by e_CR editors
Videotape, U-Matic, color, sound, 20 min 45 sec
Recording of the performance of the same title at Kunstverein Heidelberg, 11 November 1982
The sound has been recorded at Centre Georges Pompidou in Paris, 2 December 1983 (82).
Courtesy Vidéo les Beaux Jours, la Maison de l’Image, Strasbourg and imai, inter media art institute, Düsseldorf
Musée National d’Art Moderne, Centre Georges Pompidou, Paris.
Nationalgalerie im Hamburger Bahnhof, Berlin.
Fonds d'art contemporain de la Ville de Genève.
Düsseldorf 1988 (Wien 1988/1989. Paris 1989. Hamburg 1989. Saint-Etienne 1989). Genève 1999. Paris 2002 (Strasbourg 2002. Liechtenstein 2002)
I: Bielefeld 1985, pp. 168-169. Düsseldorf 1988, pp. 20-21. Genève 1999, pp. 47ff. Paris 2002, pp. 64-65
V: Heck 2000, pp. 31-33, 129-131
(1) See (82) for the text.
(2) For the German translation see also Jochen Gerz, Texte, pp. 168-169 (Bielefeld 1985).
(3) For the French translation see also Jochen Gerz, De l’art, textes depuis 1969, pp. 276-278 (Paris 1994 b)