The "sweet creativity", between electronic art and experimental cinema

Since the digital revolution took place and following the Lev Manovich's perspective, the intersections and dialogues between media have developed in such a fluid and unexpected way, giving artists the chance to model more creative images and scenarios for what we may call new forms of story-telling. Considering the complexity of this background, where digital technologies have a great influence in shaping new media communication strategies and new personal poetics, and far away from the extreme and narcissistic experiences in the field of performing arts by artists such as Marina Abramovic, Valie Export or Orlan, in the last years women artists involved in electronic videoart have offered new reflections about themselves and their worlds, following the criteria of what we may call “the sweet creativity”. It seems that there is a light that never goes out in women's electronic videoproduction: it is a light full of grace for a speech never totally told, a suspension of images and words, an interior atmosphere depicted with shading vibrations and blurry visions. Talking about their lives, trying to give lights to other womens' experiences or simply showing the beauty of their bodies and the power of their gestures acting in the world, the discourse developed by women artists in electronic videoart has often the slow rythm of poetry, a meaningful symbolic and rhetoric attitude, a taste for new forms of story-telling where the factual and mere reality meets the evanescence of imagination. So, looking at the panorama of the last ten years of women artists' international videoproduction, this essay will offer the analysis of a few video-examples - such as self-portaits, portraits, poetic documentaries or video-performances - trying to point out some recurrant characteristics which define the idea of women's “sweet creativity” in the digital era.