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"Cosetta G. Sabba: The definition 'anti-videotape' is yours; it is contained in the previously mentioned interview with Valentina Valentini and Alessandra Cigala. You spoke of Kounellis' work referring to it - in my opinion in a rather interesting way - as a 'rhetorically "anti-videotapes" notion [...]: there is no colour, or action, or sound. It is a long sequence where Jannis appears, with his face covered by an Apollo's mask and holding an oil lamp, standing still for half an hour, for the entire duration of the tape. It is obvious that it is a long still life because he moves his hand slightly. Yet, it isn't a performance, it is only his "living" work, that remains in history thanks to the video medium'.
Maria Gloria Bicocchi: Yes, I stand by my words and I can also add that I know for sure that Kounellis often does not remember having created 'a videotape', yet he definitely having created 'a videotape', yet he definitely remembers one of his works that he made with me in Florence, where, while wearing an Apollo's mask, he held an oil lamp in his left hand. Why did I call Janni's work 'anti-video'? Because as this is a work that expresses itself only, besides the medium's possibilities, it can be defined as an 'anti-videotape', but No Title is absolutely what it should have been: a work by Kounellis created with video, the only medium with which this specific work could be made in order to 'last', in contrast to performances. It is a beautiful videotape, it is a real videotape!".(Source : Cosetta G. Saba & Mirco Infanti, "art/tape/22. Conversation with Maria Gloria Bicocchi", Rewind Italia: Early Video Art in Italy, Laura Leuzzi & Stephen Partridge (eds.), John Libbey, New Barnet, 2016, p. 97-98.)

Publications and Periodicals which reference the work

- Laura Leuzzi & Stephen Partridge (eds.), Rewind Italia: Early Video Art in Italy, John Libbey, New Barnet, 2016.

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