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Haute Fidélité

— Collections from the Fonds d’art contemporain de la Ville de Genève (FMAC)

16 July — 15 June 2013

Haute Fidelité was one of the main exhibition of LOOP 2013. An exhibition based on the art collection of the Contemporary Art Fund of the City of Geneva (FMAC). Thirty seven pieces have been carfefully selected from this valuable public collection, one of the biggest and most important video collections in Europe, and shown in Barcelona for the first time outside of Switzerland. Haute Fidélité goes over various decades of acquisitions to propose and outlook of the history of video in relation to several experimental fields: contemporary art and music, image and sound. The selection includes pieces by artist such as Samuel Beckett, John Cage, Cerith Wyn Evans or Bill Viola. This exhibition is complemented by a specific programme of concerts and performances.

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Installation view of ‘Haute Fidélité’ at Arts Santa Mònica, for LOOP Festival 2013

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Installation view of ‘Haute Fidélité’ at Arts Santa Mònica, for LOOP Festival 2013

List of exhibited works

René Bauermeister, 'High Fidelity' (1971-1973)
Samuel Beckett, 'Quadrat I + II' (1981)
Sadie Benning, 'Las chicas al poder' (1992)
Robert Breer, 'Jamestown Baloos' (1957
William burroughs, 'The Cut-Ups' (1966)
John Cage, 'One 11 and 103' (1992)
Douglas David, 'Double Entendre', (1981)
Cerith Wyn Evans, 'Degrees of Blindness' (1988)
Oskar Fischinger, 'Studie Nr. 7 + Studie Nr. 8' (1931)
Gary Hill, 'Soundings' (1979)
Teresa Hubbard and Alexander Birchler, 'Detached Building' (2001)
Mark Lewis, 'Upside Down Touch of Evil' (1997)
Christian Marclay, 'Record Players' (1984)
Miranda Pennell, 'Human Radio', (2002)
Hans Richter, 'Rhythmus 21' (1921)
Pipilotti Rist, 'I'm Not The Girls Who Misses Much' (1986)
Richard Serra, 'Boomerang' (1974)
Michael Snow, 'Rameau's Nephew by Diderot (Thanx to Dennis Young) by Wilma Schoen' (1970-1974)
Steina Vasulka and Woody Vasulka, 'Noisefields', (1974)
Robert Wilson, 'video 50' (1978)