An early and complementing version of this text has been published as Dwelling with Moving Images in Dominique Chateau and José Moure (eds.), Post-cinema (Amsterdam: Amsterdam University Press, 2020). I wish to thank the anonymous reviewer for having suggested a number of stimulating points on my work. 2) Janet Harbord,
Some filmmakers or artists decide to put art at the heart of their creation,
applying not only the relationship between cinema and art to their concept
but also to various aspects of the process of creation. Miriam De Rosa
addresses this kind of “art contemporary turn” by examining the different
incursions of cinema from the point of view of the contemporary art space:
“how the contemporary experience of moving images is articulated when
it enters art spaces.” The presence of film in this foreign space, transforming
it into a different and personalized place, can be observed in recent
exhibitions: Sleepwalkers (2007); Marta Minujín’s Mesunda Reloaded
(2019) at the New Museum in New York; and Sensitive Environments by
the Milan-based collective Studio Azzurro.
This essay discusses the orientations of the screen both as work surface
and as display surface by focusing on the shifts from and to the horizontal
and vertical axes of the screenic space. To do so, we have collected a
variety of examples, mainly media art installations but also films and
mixed-media performances, which serve to reconstruct an ‘evolution of
the desk’ and to retrieve a new gesturality. Balancing the producer’s and
the viewer’s perspectives, we argue that it is no longer the function but
the usage of a certain device that determines its position on either the
vertical or the horizontal axis.
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