Article:

Super 8 ausstellen. Notizen zur Obsoleszenz eines Formats

First manufactured in 1965, Super 8 film was meant to be an “amateur” format but became rapidly an ideal tool for artists and experimental filmmakers. The format combined a user-friendly approach with a relatively high image resolution, and was thoroughly appreciated by artists experimenting with the moving image for its visual qualities. This article seeks to explore and question some aesthetic strategies to be found in the Super 8 works of Carolee Schneemann, Ericka Beckman, Luther Price, and Peter Miller. Throughout the analysis of examples spanning from the 1970s to the 2000s, the article addresses the particular challenges posed by technological obsolescence when exhibiting Super 8 film.