@nash_curating_2023 - Moon's Zettelkasten

# Mark Nash (2023). *Curating the Moving Image*. : Normal Films Duke University Press. > [!INFO] > Type:: [[book]] > Title:: Curating the Moving Image > Author(s): [[Mark Nash]] > Year:: 2023 > Tags:: > DOI:: > Citekey:: nash_curating_2023 > ZoteroURI:: [Open in Zotero: Curating the Moving Image](zotero://select/items/@nash_curating_2023) > ReviewedDate:: [[2023-09-20]] ## Citation ```latex [@nash_curating_2023] ``` ## Related ```dataview TABLE file.aliases AS "Title" FROM [[@nash_curating_2023]] and -"Plans" and -"resources" ``` ## Summary - ## Annotation 1. First Movement: Theatrical Fields 1. 큐레이션을 as a form of performance 2. The first movement focuses on the theatrical and architectural mise en scène that subtends any exhibition, and argues for exhibitions as forms of performance. (15) 3. Moving-image works bring their own illumination which often conflicts with the white-cube architecture of most museums and galleries. Artists, philosophers and theorists such as Bertolt Brecht, Roland Barthes and Louis Althusser have explored the ideological implications of staging hors-scène or off-screen in offering different, critical kinds of spectatorship." 2. Second Movement: Back to the Future 1. presents texts that focus on several exhibitions I have curated and that, in one wav or another, refer to the legacy of utopian and socialist ideas in contemporary art. (19) 2. One argument, not terribly convincing, but relevant nevertheless, is that whereas film required considerable economic investment and ideological prestige, and so was more subject to censorship, 'actually existing socialist' contemporary-art regimes developed 'under the radar, since they involved relatively little or no financial support. [[@gros_history_2010]] 3. I was struck by the apparent disconnect between the work of this younger, post-Communist generation and the complex visual language embodied in the cinematic heritage of the Soviet era.(20) 4. My curatorial investigations, therefore, have been drawn to the ruins of socialist utopia to see whether it is still possible to envisage such alternatives. 5. suggesting a connection between the aesthetic and political debates surrounding art and cinema in the period of the historic avant-garde, and more recent debates concerning post-Soviet art. (20) 6. Vertov, as mentioned, attempted to re-vision the new communist world, while Eisenstein sought to invent acinematic language that would encompass a broad repertoire of art-historical reference in order to materialize the process of ideas in an 'intellectual cinema. (20-1) 7. How, I asked myself, did artists deal with this tectonic shift in their political and personal reality? (21) 3. Third Movement: China as Method 1. a geo-poetic frame. All the chapters focus on or make substantial reference to Chinese art and culture (post-Communist Revolution, People's Republic of China). 2. During this period (*80s and 90s*), Western cultural critics took Western modernity as a method and tried, increasingly unsuccessfully, to force China into its framework. I am interested in developing a philosophy of curating and exhibition making, one which engages both with the audience's affective experience as well as the curator's and critic's cultural and philosophical frame. (27) #### First Movement: Movement ##### Exhibition Staging: Notes and Queries (With Wilfried Kuehn) [[Wilfried Kuehn]]: What is exhibition staging in terms of the architectural part? If staging in spite of its ambiguous hint to theatricality means display, what does this entail? (69) 디스플레이의 *dis*는 negation or a separation. The distancing entails a form of alienation necessary to display a work of art. (69) we are confronted with a problem inherent in the architecture of exhibiting: the display interferes with the artwork as it ideologically frames it. 19세기의 아트는 인스티튜션 (전시, 살론, 그림 프레임) 20세기에 아트는 디스플레이와 싸웠다면 현재는 큐레이팅이 as a proper praxis present inexhibiting. (70) > 그렇다면 질문은 What does this curatorial narrative mean in terms of spatial narratives, and in that sense, what does it mean in terms of architecture? (70) 이 큐레이터의 내러티브는 공간적 내러티브 측면에서 어떤 의미를 가지며, 그런 의미에서 건축적 측면에서는 어떤 의미를 가지나요? [[Mark Nash]]: I am simply (if anything is simple in these discussions) talking about the way the meaning of an exhibition (or for that matter a film) only emerges during the process of viewing and is then consolidated after the event. 큐레이팅은 영화를 관람하는 프로세스와 비슷하다. 전통적으로 영화가 끝난다음에 논의하지만 보고 있는 동안에도, 생각, 감정, 질문을 친구와 교환한다. 전시또한 "you follow the parcours set out by the exhibition organizer or curator, which you may vary depending on your particular interests, focusing attention on particular works as opposed to others." (71) a key division in modalities of curating: between the affective and the conceptual. (72) 그리고 시네마와 전시 모두 그 두개를 가지고 있다. [[Wilfried Kuehn]]: Parcours is a key element if we speak about the visitors' experience and the double challenge of affect and critical judgement in an exhibition. 전시회에서 관람객의 경험과 감성과 비판적 판단이라는 이중의 도전에 대해 이야기할 때 파르쿠르는 핵심 요소입니다. > On the other hand, we placed transversal corridors in-between the large rooms of the enfilade, and these corridors acted as a rational grid or network of shortcuts which led you to works or rooms you specifically searched for, or else it simply interrupted the enfilade for a moment and made the exhibition apparatus visible, similar to the distancing effect of Brecht's actor stepping forward and addressing the audience outside of their role. > 한편, 엔필라이드의 큰 방들 사이에 횡단 복도를 배치했는데, 이 복도는 브레히트의 배우가 배역을 벗어나 앞으로 나와 관객에게 말을 거는 거리 두기 효과처럼 엔필라이드가 잠시 중단되고 전시 장치가 보이도록 하는 합리적인 격자 또는 지름길의 네트워크 역할을 했습니다. (73) [[Mark Nash|Nash]]: The moving image is now a key element of contemporary art […] continue to coexist with other moving-image discourses: mainstream narrative film, art cinema, documentary film, video and television, all of which mainly work with a realist politics and aesthetics and do not engage with the discourses of contemporary art. (73) 하지만 시네마에도 시네마 만의 빛과 own architecture— the cinema building이 있는데 그것에 대해 생각하는 모던 뮤지엄은 매우 극소수다 its own architec ture-traditionally that of the cinema building. It is interesting that very few of even of the most modern museums take that into consideration and design good black-box environments. (74) [[Wilfried Kuehn|Kuehn]]: > Starting from the idea that an exhibition, unlike a theatre performance, does not use stages in order to stage a work, the main point in time-based installations in my view is the visitor's movement. 전시회는 극장 공연과 달리 작품을 연출하기 위해 무대를 사용하지 않는다는 생각에서 출발하여, 제가 생각하는 시간 기반 설치 작품의 주요 포인트는 관람객의 동선입니다. (76) The moving images and the moving visitors then enter into a relationship that needs some attention. (76) As architects, we are interested in this spatial question as one of typologies, and it turns out that we can conceive an exhibition from this perspective going back to historical precedents like urban spaces and the garden. 건축가로서 우리는 유형학의 하나로서 이 공간적 질문에 관심이 있으며, 도시 공간과 정원과 같은 역사적 선례로 거슬러 올라가는 이러한 관점에서 전시를 구상할 수 있다는 것을 알게 되었습니다. (76) 예시: Stowe in Buckinghamshire ![[temple-of-british-worthies-shell-bridge-stowe-buckinghamshire-1097933.jpg]] > 버킹엄셔의 스토우와 같은 조경 정원을 지나가다 보면 시선과 신체 움직임 사이의 중요한 관계에 의해 움직이게 되는데, 이는 파빌리온과 같은 건축물과 관련하여 신체 위치를 바꾸게 만듭니다. 즉, 이동하는 동안 보이는 건물, 움직이게 하는 시점 역할을 하는 건물, 건물과 건물 사이에서 신체가 움직이는 방식으로 서로 관련되어 있습니다. (76) Moving through a landscape garden like Stowe in Buckinghamshire, you are driven by a vital relation between your gaze and your body movement, which makes you change your physical position in relation to architectural presences like pavilions: buildings you see while you move, buildings that act as viewpoints which make you move, buildings that are related to one another in such a way that your body is moving in between them. > While we pursued this rather typological path working with you, the curators, we were aware that once the artists came in with their works, there would be yet another moment of spatial transformation. (76) 큐레이터 여러분과 함께 다소 전형적인 경로를 추구했지만, 아티스트들이 작품을 들고 들어오면 또 다른 공간적 변화의 순간이 있을 거라는 것을 알고 있었습니다. ##### Living With Video: An Architectural Parcours (With Isaac Julien) 많은 비디오 아티스트는 블랙박스를 원하지만 Pamela and Dick Kramlich, 비디오 아트를 80년대부터 모으고 있는 이 둘은 좀 다른 방식을 사용하고 있다. 집 그자체를 [비디오 박물관으로 만들어 버림](https://www.nytimes.com/2019/03/07/arts/design/kramlich-video-herzog-de-meuron.html) → house-museum 장르 ![[Pasted image 20230921184243.png]] ![[merlin_151181160_776abeed-9fb8-4f37-b111-12de335cb144-articleLarge.webp]] ![[Pasted image 20230921184311.png]] ##### 다큐멘터리 19세기 미학 이론과 1930년대 다큐멘터리 영화의 부상을 지배했던 사회적 동기를 가진 헌신적인 사실주의와 덜 관여적이고 묘사적인 자연주의 사이의 논쟁을 오늘날 예술가들의 작품으로 확장하는 것이 유용할 수 있습니다. nineteenth-century melodrama = 리얼리티 티비쇼 > On the contrary, many or these forms are driven by an anti-documentary logic in that they are not at all engaged with the project of education and information which might lead to social engagement or social change—the original motivation of the documentary movement—but are concerned with passing off minor narcissistic gestures with a camera as a significant (aesthetic) statement. (116) > 오히려 다큐멘터리 운동의 본래 동기인 사회 참여나 사회 변화로 이어질 수 있는 교육과 정보 제공 프로젝트에는 전혀 관여하지 않고, 카메라를 이용한 사소한 자기애적 제스처를 의미 있는 (미학적) 진술로 포장하는 데만 관심이 있다는 점에서 반다큐멘터리 논리에 의해 주도되는 형태가 많습니다. Hiroyuki Oki's video diaries might be felt to participate in such aesthetic. In The Form of the Palace of Matsumae-kun's Brothers 1 (2006), Oki adopts an aleatory approach that is characteristic of this series of works. […] Oki directs us to the issue of where change comes from - in this case in the daily life of the artist - rather than to any grander gestures that give his work political significance and agency. Abbas Kiarostami's Five Long Takes Dedicated to Yasujiro Ozu (2003) develops this subjective aesthetic in terms of duration. 오키와 키아로스타미는 다큐멘터리의 개념을 어떤 의미 제로가 아니라 현실은 항상 재현을 초과하지만 재현은 현실을 수용하려고 노력하는 거의 신비주의적인 세미오시스로 확장하는 데 관여했습니다. Both Oki and Kiarostami are involved in evacuating the notion of documentary, not to some sort of degree zero of signification but, rather, to an almost mystic semiosis where reality always exceeds its representation, but the representation strives to accommodate it. ##### Re-Imagining October 러시아의 아방가르드 포스트-소비에트 시기와 유럽의 포스트-모더니즘과의 parallell을 통해서 바라보는 아트, 노스탈지아. ### Related ```dataview LIST FROM [[@nash_curating_2023]] and -"Plans" and -"resources" ```