Marlene Kos

Paul and Marlene Kos produced numerous videotapes throughout the 1970s that explored the hypnotic and illusory aspects of the televised image. Their installation works treat the video monitor as an essentially sculptural element with its own inherent structural language. In several cases, the monitor functions as a window offering a view of events occurring simultaneously in another location; they likewise reassess the role of the audience, actively structuring viewers into the performance of the work (St. Elmo’s Fire, 1977).