## (2016). *Exhibiting the Moving Image: History Revisited*. : JRP|Ringier & Les Presses Du Reel. > [!INFO] > Type:: [[]] > Title:: Exhibiting the Moving Image: History Revisited > Author(s): [[]] > Year:: 2016 > Tags:: > DOI:: > Citekey:: bovier_exhibiting_2016 > ZoteroURI:: [Open in Zotero: Exhibiting the Moving Image: History Revisited](zotero://select/items/@bovier_exhibiting_2016) > ReviewedDate:: [[2023-12-03]] ## Citation ```latex [@bovier_exhibiting_2016] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@bovier_exhibiting_2016]] and -"Plans" and -"resources" ``` ## Summary - ## Annotation ### 6 François Bovier and Adeena Met * 이 책은 current landscape를 조사하기 위한 것으로 * 첫번째는 “exhibition studies” 혹은 “curatorial studies” of which the former is possibly a subset. 라고 불리는 것 * 두번째는 renewed interest in the analysis of animated images in the history and theory of art and media studies. * 이러한 움직임은 order theoretical rethink which would appear to signal the relinquishment of “postmodern” discourses which set great store y language effect and text * 이러한 자라나는 interest fo the exhibition as a subject analysis, and the place currently occupied y concepts such as “objects” and “things” in “new materialism” and “speculative realism” in philosophy, which is having a renewed impact on media archaeology. * 이러한 오브젝트, 띵, 뉴 메테리얼리즘, 그리고 스펙큐레이티브 리얼리즘에 관한 책으로는 * Bryant, Levi, Nick Srnicek, and Graham Harman, eds., *The Speculative Turn: Continental Materialism and Realism*, Anamnesis (Melbourne: Re.Press, 2011) * Thomas Elsaesser, ‘The New Film History as Media Archaeology’, Cinémas, 14.2–3 (2004), 75–117 <https://doi.org/10.7202/026005ar> * Parikka, Jussi, *What Is Media Archaeology?* (Cambridge, UK ; Malden, MA: Polity Press, 2012) * 이러한 움직임들은 in the view of exhibitions as apparatuses produced by and interlaced with a network of * object * discourses * processes * and institutions * Irit Rogoff는 큐레토리얼 그리고 아티스틱 프랙티스들이 (no longer just any particular artistic medium) as now occupying an “expanding field” in which “all definitions of practices, their supports and their institutional frameworks have shifted and blurred.” * Rogoff, Irit, ‘The Expanded Field’, in *The Curatorial: A Philosophy of Curating* (London ; New York: Bloomsbury Academic, 2013), pp. 41–48 * the very object of “exhibition studies” 은 멀티블에 heterogeneous; it can no longer imply be viewed as the presentation of jets (regardless of how immaterial or process-based they may be or whether they are artistic or not) in a museum or gallery, or even as ==“spatial choreography”== * 이 표현은 expression Christian Rattemeyer to describe Harald Szeemann’s work at his flagship exhibition, When Attitudes Become From (1969), at the Kunsthalle Bern. * Exhibiting the New Art: ‘Op Losse Schroeven’ and ‘When Attitudes Become Form’ 1969 Book by Christian Rattemeyer and Willem A. L. Beeren * 글쓴이는 여기서 두개의 distiction을 구분하자고 제안한다. * museum culture, exhibitions * and the act of curating itself. * any historical overview of the **exhibition of the moving image is duty bound** to take a comparative **look at its genealogy in relation to museums**. * 뮤지엄 컬처란 책에서 두 작가는 defining ideas at the heart of contemporary museum cultures studies: * 오브젝트와 컨텍스트 * 퍼블릭, reception * as these are fairly general categories, 둘은 뮤지엄 컬처는 has a specific nature and that there is a need to analyse the complex relationships underlying all exhibitions. ### 7 * **Tony Bennett**은 푸코의 감옥 판옵티콘 모델을 따라서 “exhibitionary complex”의 elements를 구별한다. —museums, trade fairs, universal expositions, etc — * Bennett, Tony, ‘The Exhibitionary Complex’, in Grasping the World, ed. by Donald Preziosi and Claire Farago, 1st edn (Routledge, 2019), pp. 413–41 <https://doi.org/10.4324/9780429399671-27> [accessed 24 May 2020] * 그의 접근법에 더해서 뮤지엄과 컨템 아트에만 exclusive focus on **Dorothea von Hantelmann** 은 현재의 비쥬얼 아트의 성공은 largely attributable to exhibitions, much more so than, say, individual artworks or artists’ approaches. ➡︎ 그녀에게 있어서 전시를 통해서 작업들은 성공할 수 있었다. * 그녀에게 있어서 뮤지엄과 전시들은 are repositories for particular values and parameters that define Western societies. * 토비 베텟의 “exhibitionary complex” 에서 빌려와서 Helmut Draxler은 1980년대의 전시 practice를 redefine하는 두개의 카테고리를 포뮬레이트 한다. 1. Discursive(추리 추론적인) * alternative to site-specificity and institutional critique, neither of which can adequately describe the art of the 1980s * concerned with a way of speaking: language within the social arena, indicating the perforative aspect of language itself. 3. Exhibitionary * a set of cultural practices that **go beyond the strategies of using Minimalism** and installation art to occupy and challenge the “white cube” * “exhibition-making” depends on a plurality of practices, and that design is but one of them. More specifically, “these cultural practices include ways of arranging and presenting objects or displaying information; ways of addressing, assembling, and guiding people; and ways of interacting symbolically with those objects or information via conversation, education, marketing, or critique. ### 9 * 최근에 와서 이론적 스터디들이 interaction between contemporary art and cinema 를 연구했지만 * Balsom, Erika, *Exhibiting Cinema in Contemporary Art*, Film Culture in Transition (Amsterdam University Press, 2014) [[@balsom_exhibiting_2013]] * Maeve Connolly, *The Place of Artists’ Cinema: Space, Site and Screen* (Bristol: Intellect, 2009) [[@connolly_place_2009]] * Leighton, Tanya, ed., *Art and the Moving Image: A Critical Reader* (London : New York: Tate Publishing, 2008) * Mondloch, Kate, *Screens: Viewing Media Installation Art*, Electronic Mediations, v. 30 (Minneapolis: University of Minnesota Press, 2010) * Uroskie, Andrew V., *Between the Black Box and the White Cube: Expanded Cinema and Postwar Art* (Chicago ; London: University of Chicago Press, 2014) * 적은 양의 글들이 how precisely these hybrid, mixed practices relate to the exhibition as a “specific activity” or “singular object.” * 무빙이미지들이 갤러리나 뮤지엄에서 나와서 moving images are, nonetheless, ubiquitous in contemporary society, and are deployed on the streets and public space (places that have nothing in common with the optimality of the “white cube”), as well as in visual space, * we should then perhaps question the “spate-centrism” still largely prevalent in” exhibition studies” and look rather at multiple exhibition forms, one that have broken free from the constraints of the museum walls. * This shift in perspective means that the moving image should no longer be defined exclusively in terms of the technical specifications governing its projection or mobility; we should include, more broadly, image animation that ban be produced in the absence of any real movement, as is the case with kinetic art and certain psychedelic experiences. * **From this perspective, the moving image can no longer be defined simply by phenomenological description or the empirical analysis of its perception: both projection and animation of the image can be diverted from their physical supports.** ### 프로젝션의 죽음? ==Jacques Aumont, *L’attrait de la lumière* (*The Attraction of Light*, 2010, p, 19)== * In his book he has said that the light of projection is often forgotten by film theory because it is always present as an invariable part of the apparatus. ➡︎ 하지만 비디오 시대가 오면서 프로젝션은 이제 하나의 방법 중 하나가 되었을 뿐이다. 파이니의 경우 ==Païni, Dominique. ‘Should We Put an End to Projection?’ Translated by Rosalind E. Krauss. October 110 (October 2004): 23–48. https://doi.org/10.1162/0162287042379838.== * Two great modes of Achieving the imate: * Material supports to which the image indissociable from this support adheres, and luminous projection slides for which a spotless (or not) screen intercepts ephemerally(or not) the ray ### Digital video projection — Commercial * 조지 루카스의 스타워즈(1999)를 시작으로 디지털 상영이 매우 적은 상영관을 통해서 시작되었다. * 10년 후에는 19퍼센트의 상영관이 디지털화 되었고 * ( 왜 이렇게 느리게 진행되었는가에 대한 이유는 ➡︎ 요기서 찾을 수 있다. ==Bordwell, David. Pandora’s Digital Box: Films, Files, and the Future of Movies. Madison: The Irvington Way Institute Press, 2012, p. 46-82.== * 그러나 September 2011 쯔음에는 21,781 of the 39,621 미국 영화관이 디지털 프로젝션을 equipped ==Belton, John. ‘Digital Cinema: A False Revolution’. October 100 (April 2002): 104. https://doi.org/10.1162/016228702320218411.== > Digital projection as it exists today does not, in any way, transform the nature of the motion-picture experience. Audiences viewing digital projection will not experience the cinema differently, as those who heard sound, saw colour, or experienced widescreen and stereo sound for the first time did…Digital projection is not a new experience for the audience. What is being offered to us is simply something that is potentially equivalent to the projection of traditional 35mm film. **Film-going experience unchanged** ### Digital video projection — Art exhibition 아트 쪽에서는 더 일찍 Marc Mayer “new way of experiencing video was developed in earnest during the late 1980s” ==Mayer, Marc, and Albright-Knox Art Gallery. Being & Time : The Emergence of Video Projection. Buffalo, NY : Buffalo Fine Arts Academy, 1996. p.28== LCD 프로젝터는 1990 부터 CRT를 대체했고 가장 중요한 터닝포인트는 1992년 documenta 9 (1992) featured projected video pieces by StanDouglas, Gary Hill, Bruce Nauman, and Bill Viola 였다. 2003년 Chrissie Iles ➡︎ “new cinematic aesthetic in video," observing that, “In form and content, video is now mimicking the qualities that had always pertained exclusively to film. The use of the word Video as a defining term for a particular area of contemporary art no longer appears to be either necessary or relevant” ==Büchler, Pavel, Tanya Leighton, Centre for Contemporary Arts, and Manchester Metropolitan University, eds. *Saving the Image: Art after Film*. Glasgow: Centre for Contemporary Arts, 2003. p. 140== 갤러리와 뮤시점에서의 비디오 프로젝션은 revolutionary였다. ==Belton, John. ‘Digital Cinema: A False Revolution’. October 100 (April 2002): 104. https://doi.org/10.1162/016228702320218411.== fully changing the possibilities and parameters of video as a medium. Projection has drastically altered the relationships between images, viewers, and surrounding architecture. ⬅︎ **어떻게?** * p. 64 Domestic scale of the image was central to much video art at the time and, for some, constituted a defining feature of the medium. ### 아트 인스톨레이션에서 티비와 프로젝션 ==Mayer, Marc, and Albright-Knox Art Gallery. Being & Time : The Emergence of Video Projection. Buffalo, NY : Buffalo Fine Arts Academy, 1996. p.29== > The “looks like art, therefore must be" argument also has a flip side that has multiplied curatorial advocates and salvaged video from further ghettoisation: video projection does not look like television […] **The principal means by which video has avoided this confusion with television is to abandon the monitor for and experience more evocative of cinema and mural painting, two particularly public forms of artists expression.** ## Examples — Experimental Forms of Screening This Nameless Spectacle by Jesper Just ![[Pasted image 20231203132114.png]] Mareorama ![[Pasted image 20231203132129.png]] ### Related ```dataview LIST FROM [[@bovier_exhibiting_2016]] and -"Plans" and -"resources" ```