# Maeve Connolly (2009) *The Place of Artists' Cinema: Space, Site and Screen*. : Intellect. > [!INFO] > Type:: [[]] > Title:: The Place of Artists' Cinema: Space, Site and Screen > Author(s): [[Maeve Connolly]] > Year:: 2009 > Tags:: > DOI:: > Citekey:: connolly_place_2009 > ZoteroURI:: [Open in Zotero: The Place of Artists' Cinema: Space, Site and Screen](zotero://select/items/@connolly_place_2009) > ReviewedDate:: [[2024-02-04]] ## Citation ```latex [@connolly_place_2009] ``` ## Summary ## Annotation “Focusing on developments since the mid 1990s, this book examines the various ways in which contemporary art practitioners have claimed the narrative techniques and modes of production associated with cinema, as well as the history, memory and experience of cinema as a cultural form.” (Connolly, 2009, p. 9) “Just as ‘cinema’ is no longer predominantly figured within contemporary art practice in terms of classical Hollywood, it is possible to identify a shift away from the radical, often psychoanalytically inflected, critiques of spectatorship that once underpinned artists’ film and video.” (Connolly, 2009, p. 10) “This reinvention of the cinematic within contemporary art practice is undoubtedly indebted to film and media scholarship, particularly in relation to the public sphere of early cinema” (Connolly, 2009, p. 10) “It could be argued that ‘location’ is more central to my analysis than place, given its particular association with cinema through the use of the term in film production. Yet location tends to imply a certain straightforwardness and specificity, lacking the (often usefully problematic) associations of place.” (Connolly, 2009, p. 11) 예술과 영화 실무에 대한 설명에서 장소에 초점을 맞추는 것은 때때로 특정 장소에 뿌리를 둔 '진정한' 경험에 대한 우려를 나타냅니다. 예를 들어, 루시 리파드는 <로컬의 유혹>(1997)에서 '현대 문화 생활에서 특정 장소, 즉 '예술 세계'에 가치를 부여하지 않는 것'을 한탄합니다. > [Lucy Lippard는] "물리적으로 구현되어 '그곳에 살거나 살았던 사람들에 의해 풍경이나 장소에 기록된' 지역 지식의 형태를 발굴함으로써 장소성을 회복할 수 있다고 제안하며, '내부에서 본' 장소와 '외부에서, 배경으로' 보는 풍경의 대립을 설정한다." > > “She suggests that a sense of place can be recovered through the excavation of forms of local knowledge that are physically embodied and ‘written in the landscape or place by the people who live or lived there’, and she sets up an opposition between place, as ‘seen from the inside’ and landscape, which is seen ‘from outside, as a backdrop” (Connolly, 2009, p. 11) “for the experience of viewing’.” (Connolly, 2009, p. 11) “My understanding of ‘place’ is distinct from that offered by both Lippard and MacDonald, and perhaps closer to the model explored in Tacita Dean and Jeremy Millar’s survey of place-centred art practice.” (Connolly, 2009, p. 11) > 딘과 밀러는 '경관'이라는 용어가 자연적 특징이 아니라 땅의 조직을 가리킨다는 점에 주목하면서, 모든 것을 위한 장소, 모든 것을 위한 장소라는 문구에서 알 수 있듯이 장소 자체를 조직의 개념과 연결하기도 합니다. 여기서 '장소'는 발견되거나 회복될 수 있는 고정된 것이 아니라 끊임없이 만들어지는, 끊임없이 진행 중인 것입니다. 딘과 밀러의 저서는 또한 합리주의 철학에서 장소가 공간으로, 그리고 이후에는 장소로 강조점이 이동하는 과정을 간략하게 추적하면서 사물 사이의 측정된 거리가 서로 관계하는 사물의 상황보다 덜 중요하게 여겨지게 되었다고 지적합니다.12 이러한 강조점은 그들이 선택한 작품에서 드러나는데, 많은 작품이 현대 미술 실천에서 관계적인 것과 상황적인 것의 상호 의존성에 주목하고 있습니다. > > “Noting that the term ‘landscape’ refers not to a natural feature but to the organization of land, Dean and Millar also link place itself with the concept of an organization, as suggested by the phrase a place for everything and everything in its place. Here, ‘place’ is not something fixed, which can be uncovered or recovered, but rather it is something that is continually being made, continually in process. Dean and Millar’s publication also briefly traces a shift in emphasis within rationalist philosophy from place to space, and subsequently to site, noting that the measured distance between things has come to be regarded as less important that the situation of things in relation to each other.12 This emphasis is borne out in their selection of works, many of which call attention to the interdependency of the relational and the situational in contemporary art practice.” (Connolly, 2009, p. 11-2) “They perceive the activity of mediating as increasingly identified and valued in its own right, ‘separated from the other forms of activity it had hitherto been bound up with’.” (Connolly, 2009, p. 18) “In recent years, critical attention seems to have focused on the ‘gallery film’ as a distinct area of moving image practice, one with a particular debt to experimental film.” (Connolly, 2009, p. 19) “Chris Darke charts the migration of cinema into the gallery during the 1990s and notes an attendant erasure of critical memory with respect to video art.” (Connolly, 2009, p. 19) “‘curious effect ... where a new generation of artists has elected to work with video and, in so doing, has frequently aped the work of innovators in the form such as Vito Acconci, Bruce Nauman and Marina Abramovic almost as though they had never existed.” (Connolly, 2009, p. 19) “Darke posits that the experience of the moving image in the gallery appears to offer a respite from the commercialization and privatization of domestic space.” (Connolly, 2009, p. 19) “‘mirrored space’ of Dan Graham” (Connolly, 2009, p. 19) “‘adversarial space’ of Bruce Nauman, the ‘durational space’ of Peter Campus and the ‘theatrical space’ of Vito Acconci” (Connolly, 2009, p. 19) “Writing in 2000, Iles suggests that contemporary ‘film and video space has become” (Connolly, 2009, p. 20) “the location of a radical questioning of the future of both aesthetic and social space’.” (Connolly, 2009, p. 20) “witnessing, in which the gallery offers a platform for experiential accounts or testimonies of marginalization or exclusion.” (Connolly, 2009, p. 20) “history of the museum as an institution in which appropriate behaviour is modelled” (Connolly, 2009, p. 20) “The term ‘expanded cinema’ has also been widely used (particularly within” (Connolly, 2009, p. 21) “UK contexts) to describe works that extend or contest the limits of cinema: sometimes operating outside the domain of theatrical exhibition or involving the adaptation or multiplication of the projection apparatus.” (Connolly, 2009, p. 21) > "월리에 따르면, 장치를 넘어선 영화에 대한 이러한 탐구는 1960년대 말과 1970년대 초 현대 미술의 탈물질화에 대한 일반적인 경향에 의해 영향을 받았다"고 합니다(Connolly, 2009, p. 21) > > “According to Walley, this exploration of cinema beyond the apparatus was informed both by the general tendency towards dematerialization in contemporary art during the late 1960s and early 1970s” (Connolly, 2009, p. 21) “‘the film medium ... is not a timeless absolute but a cluster of historically contingent materials that happens to be, for the time being at least, the best means for creating cinema.’” (Connolly, 2009, p. 21) “In particular, he suggests that by embracing cinema as their ‘medium’, filmmakers such as McCall could explore the conceptual dimensions of cinema without being limited to the medium of film, so that they did not need to ‘reiterate the materials of film again and again.’20” (Connolly, 2009, p. 21) “Recent years have seen a new wave of artists directing feature films devised for theatrical exhibition. Profiling ‘Hollywood’s New Wave’ in 2006, Linda Yablonsky claims that ‘more and more artists are directing feature films with large casts, big budgets, and elaborate story lines’.” (Connolly, 2009, p. 165) “rtists ‘falling in love with cinema’, precisely at the moment when it is perceived to be ‘in crisis’.” (Connolly, 2009, p. 168) “n fact, the articulation of a love of cinema, at the moment of its ‘loss’, may be linked to other forms of anxiety and nostalgia, articulated across a variety of practices, in a range of production and exhibition contexts where the relationship between cultural memory and public space is foregrounded.” (Connolly, 2009, p. 168) “In his explorations of the ‘architectural uncanny’ and related concepts such as ‘warped space’, Anthony Vidler focuses on the potential of architecture to both mark a place (as landmark) and articulate a response to it.” (Connolly, 2009, p. 168) “According to Vidler, the proliferation of the ‘void’, in works such as House is linked to a discernible nostalgia for space at the end of the twentieth-century.” (Connolly, 2009, p. 168) “There is not only no room for us in House, there is no space left either. Space is both denied and destroyed; filled, where a modernist or postmodernist sensibility would demand that it be opened.13” (Connolly, 2009, p. 169) “It is also possible to understand the fear of the ‘void’ through reference to the theorizations of public space that are advanced by Rosalyn Deutsche, among others, and discussed in Chapter 3. Emphasizing that democracy actually derives its legitimacy from ‘the image of an empty place’,” (Connolly, 2009, p. 169) “perspective on the relationship between materiality, architecture and artists’ cinema.” (Connolly, 2009, p. 169) “but produced by the physical reality of one image following another at a given” (Connolly, 2009, p. 169) “mechanical speed.” (Connolly, 2009, p. 169) “Roberts argues that because digital (as opposed to ‘archival’) mediums are concerned with the delivery of information and with direct networks of communications,” (Connolly, 2009, p. 169) “There are two key points here: firstly, Roberts suggests that in the ‘archival’ medium, time participates in the creation of space through the separation of one moment from the next, and secondly, she emphasizes that the archival is aligned with processes of translation.” (Connolly, 2009, p. 169) “Proposing ‘hauntology’ as a counterpoint (or corrective) to Marx’s ontology, Derrida argues that the ghost first makes its appearance in use-value. He contends that it is impossible to locate a ‘pure use’ in advance of commodification because of the repetition that is necessarily associated with use-value.” (Connolly, 2009, p. 179) “Chris Darke, Light Readings: Film Criticism and Screen Arts (London: Wallflower, 2000) 162.” (Connolly, 2009, p. 223) ### Related ```dataview LIST FROM [[@connolly_place_2009]] and -"Plans" and -"resources" ```