Exhibiting Cinema in Contemporary Art

Balsom, Erika

doi:10.26530/oapen_442726

Cited by 40 publications

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“…(ibid.) This distinction between the black box cinema and the white cube gallery as screening spaces has been discussed by a number of theorists, including Erika Balsom (2013), Thomas Elsaesser (2011), andVolker Pantenburg (2012). Like Pellegrini, all three highlight that the relations between cinemas and galleries need to be thought through in relation to issues of architecture and space, as well as considerations of time and duration.…”

Section: ) He Concludes That the Question Of Whethermentioning

confidence: 99%

'Waiting as Such': The Politics of Tarrying

Davis

2017

Aniki

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This essay explores the subject of waiting in relation to cinema. It looks in particular at films that engage at length with waiting through extended duration, focusing on one 'black box' example (Lav Diaz's Death in the Land of Encantos) and one 'white cube' example (Wang Bing's Crude Oil). The essay outlines various ways in which waiting has been theorised, and interrogates how these can be related to cinema. In addition to exploring the ways in which waiting works in relation to the moving image in cinemas and galleries, the essay explores the politics of waiting. Even those films which concentrate on the oppressive political uses of waiting, it is concluded, may offer glimpses of ways in which waiting could be harnessed positively.

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Section: ) He Concludes That the Question Of Whethermentioning

confidence: 99%

'Waiting as Such': The Politics of Tarrying

Davis

2017

Aniki

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“…17 With some notable exceptions, the field of Cinema Studies has taken less notice so far of the development of the gallery film as another new alternative filmic form separate from the rise of the festivals and the festival film. 18 Yet it is hard to imagine a contemporary art exhibition today without moving image works. In theory, not having to sell individual tickets for individual screenings of films, as in the movie theater mode, frees artists to make films of any type and length that they like.…”

Section: The Political Economy Of the Gallery Film And The New Gesturmentioning

confidence: 99%

The New Gestural Cinema

Berry¹

2014

Film Quarterly

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This essay examines the work of Chinese artist Yang Fudong, who often uses moving images in his art. It notes that not only has he always been interested in the gestural, but also that he has become increasingly drawn to gestural cinema. It argues that Yang Fudong’s output is a prime example of a new gestural cinema, and that this new gestural cinema is encouraged by the political economy of working on the transnational art scene, or the “artscape.” It goes on to ask how Yang Fudong has been able to deploy this new gestural cinema to his own artistic ends. Noting the debates about whether the gestural is an alternative and even redemptive language or whether it is the excess that stands beyond meaning, the essay argues that Yang’s art exercises the tension between the two potential understandings to produce his own unique effects. In Yang’s gestural cinema, the promise of meaning and narrative coherence is repeatedly invoked, and associated with the appearance of numerous figures of the modern, young, and educated individual. Yet, this promise is always frustrated, creating a structure that moves us from gesture as a way of conveying embodied experience to thinking about what meanings might attach to the gestures without imposing any particular conclusion on the spectator. This ambiguity is ethical insofar as it demands our cogitation rather than our judgment.

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“…Second, drawing on a key assumption of the ‘apparatus theory’ as a major tenet of film theories in the 1970s (see Heath ; Wollen ), I consider the idea of cinematic apparatus as a systematic arrangement of the material, technical, institutional, and discursive elements (such as the fixity of the viewer, the projector's setup behind audiences, the viewer's frontal relationship to the screen, and the darkness of the movie theater) for producing the cinematic effect and mode of spectatorship. Balsom () has pointed out the correspondence between the idea of cinematic apparatus and that of the museum as apparatus, in that the latter produces “a new cinematic dispositif [apparatus] through its particular discursive and institutional framing and the various practices associated with it” (40). With this correspondence and negotiation between the two in mind, I want to illuminate which material, technical, and aesthetic elements of Kubrick's filmmaking are lost or recuperated in the Kubrick exhibition's technical, curatorial, and architectural arrangements of his films and objects.…”

Section: Introductionmentioning

confidence: 99%

Stanley Kubrick in the Museum: Post‐cinematic Conditions, Limitations, and Possibilities

Kim¹

2017

Curator The Museum Journal

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This paper contextualizes the Stanley Kubrick exhibition, a worldwide exhibition tour program dedicated to showcasing the complete oeuvre of the filmmaker Stanley Kubrick, within 'post-cinematic' conditions. Since the mid-1990s, the formal and experiential components of the cinema in the 20th century have increasingly become displaced from the traditional apparatus and site and 'relocated' within new technological and institutional platforms, and museums have become one of those new sites for content consumption. The paper discusses both the limitations and possibilities of the exhibition as it is considered to represent the migration of cinema into the art museum context as one salient phenomenon of postcinematic conditions. The Kubrick exhibition is explored to uncover the underlying tensions of the 'exhibition of cinema' as a key trend of major international museums, between the movie theater as black box and the art museum's exhibition space as white cube. It considers the difference between these two institutional platforms and their conceptions of objecthood, artifact and the temporal economy of the viewing experience. The author argues that this event succeeds in realizing the possibilities for revivifying three constants of cinema: film auteur, cinematic apparatus, and intermediality. The ambivalence demonstrates that while the museum's exhibition of cinema inevitably removes some of its ontological essences, it also preserves and revivifies others.Jihoon Kim (jihoonfelix@gmail.com) is an associate professor of cinema and media studies at Chung-ang University, South Korea. He is the author of Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age (Bloomsbury Academic, 2016). Currently he is working on a book manuscript that examines the various intersections of cinema and the museum in the 21st century.

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Exhibiting Cinema in Contemporary Art

Cited by 40 publications

References 0 publications

'Waiting as Such': The Politics of Tarrying

'Waiting as Such': The Politics of Tarrying

The New Gestural Cinema

Stanley Kubrick in the Museum: Post‐cinematic Conditions, Limitations, and Possibilities

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