Studio/ Research: BVA 316 - 16/05/2019 (One-on-One)

Week 11 One-on-One with Kathryn 

Agenda:

1.Exhibiting site 

2.Meaning of space and the way to exhibit a meanfull exhibition. (bringing the matter of space, material and ways to exhibit)

Studio research/Essay – 15/05/2019

Exhibition strategies: Chapter 9

·     Media Art: the relationship of Cinema and museum spaces merges into one and another. This phenomenon of is considered within a historical perspective (where video, as it turns out, played the part of a decisive relay between cinema and the museum) 

·     ZKM (Center for art and media Karlsruhe) – Dominique Paini implemented the idea of moving picture. A kind of travel in time, as the question of the exhibition of moving mages changes according to various technical or technologies. (pg 310)

A “cinema effect” in contemporary art. (pg314)

-In aesthetic terms, “exhibition cinema” has also taken place over a background of changing apparatuses.This raises the issue on spectators: as image left ‘their good old dark theaters to be exhibited in the rooms of art museums, a whole series of parameters on the “specific” modes of reception of these images shifted, and with them a host of questions on the ‘nature’ of each of them appeared. 

-Does it contribute to transforming him/her into an isolated, divided wandering sunhect?

-What happens with the change from an immobile, seated position in the movie theater, to the mobile, upright posture of the passing visitor in the exhibition?

-Does the captive of temporal duration in the movie theater find freedom in the exhibition space? (pg315)

My comments:

What if my work is an QR code that opens up to my work? A sense of cinematic exhibition.

A dark place only QR code 

Historical content on picture. 

Citation

Exhibition Strategies. (2013). In NOORDEGRAAF J., SABA C., LE MAÎTRE B., & HEDIGER V. (Eds.), Preserving and Exhibiting Media Art: Challenges and Perspectives (pp. 309-388). Amsterdam: Amsterdam University Press. Retrieved from http://ezproxy.sit.ac.nz:2096/stable/j.ctt6wp6f3.17

Eric Rohmer’s Film theory: From “Ecole Scherer” to “Politique des Auteurs” 

Rohmer wrote theoretical writing on cinema 

Cinema by its nature: Rohmer was, above all, convinced that cinema was not just inherently novelistic, but more novelistic than novel itself, because by its very nature, it complies with the literary ideal “to show and not to tell”better than novels could. (pg38)

(Pg 38)

Rohmer’s theory of cinema from the outset is a daring and conceptually dangerous confliction between three binary opposition

“Showing vs telling” “ontology vs language” “space vs time”

Citation

Grosoli, M. (2018). A Novelistic Art of Space. In Eric Rohmer's Film Theory: From "École Scherer" to "Politique des Auteurs" (pp. 37-80). Amsterdam: Amsterdam University Press. Retrieved from http://ezproxy.sit.ac.nz:2096/stable/j.ctv2bctbv.5

Searching for Art’s New Publics

introduction

This book looks into the blurring distinction between an artwork and its public - that fine line between creator and spectator, maker and viewer, artist and audience 

-       Conventional approaches to making work for public space focus on the physical site and the historical and sociological context for the work. Direct engagement with public is usually plan.

-       Challenged the view on art gallery and exhibiting in public grounds 

-       Why some artist opens up their working method to embrace the involvement of non-art communities. Allowing the final work and content to others rather themselves.