François Bovier

Adeena Mey

Since the 1990s, a "cinematographic turn" has taken place in contemporary art, paralleled by the emergence of a "cinema of exhibition." This collection of new essays investigates the relationships between the "white cube" and the "black box," focusing mainly on the 1970s, a decade in which film practices and moving images were integrated into museums and art spaces.The authors analyze multiple modalities of presenting the moving image through historical case studies: the anatomy of video art, expanded cinema, artists' films and installations, and the moving image in the public sphere. Exploring examples from the 1930s to the present, these contributions address commercial, spectacular or advertising forms of moving images, artists' performative practices, installations in large museums, exhibitions devoted to projections and festivals of experimental films.

Exhibiting the Moving Image

This volume, published in parallel to Exhibiting the Moving Image, extends the inquiry into the history, theory and practice of exhibiting artists' cinema, video, installation as well as advertising films, by focusing on the domains of performance and of

Cinema in the Expanded Field

Mark Lewis

Nav Haq

Amber Husain

Amanda Carneiro

Charles Stankievech

Established in 1998, Afterall is a journal of contemporary art that provides in-depth analysis of art and its social, political, and philosophical contexts. Each issue provides the reader with well-researched contributions that discuss each artist's work from different perspectives. Contextual essays and other texts discussing events, works, or exhibitions further develop the thematic focus of each issue. Issue 52 includes work from Kapwani Kiwanga, Natasa Petresin Bachelez, Sepake Angiama, Jonas Staal, Ana Texeira Pinto, Ghalya Saadawi, Aldo Tambellini, Darby English, and Enrico Camporesi.

Autumn/Winter 2021, Issue 52

Afterall

Kyung Roh Bannwart

Tiré du site Internet de CAN : "La rencontre entre deux scènes. Suisse et sud-coréenne. L'occasion de repenser un format d'exposition, l'échange entre deux centres d'art. Telles étaient les prémices de Neo Geography I & II, projet rassemblant trois artistes basés en Suisse - Chloé Delarue, Tatiana Rihs, Matthias Sohr - et trois artistes coréennes - Yuri An, Hwayeon Nam, Jeehee Park. Les six œuvres produites spécialement pour Neo Geography résultaient de l'invitation des curateurs Kyung Roh Bannwart et Adeena Mey, à répondre à leur recherche, une tentative d'aller au-delà de certaines contingences curatoriales. Son objet portait sur les critiques d'architecture Sigfried Giedion et Ahn Young Bae dont les montages textuels et photographiques dessinaient un lien conceptuel entre les deux pays, l'exposition s'appropriant cet échange qui, bien qu'il n'ait pas eu lieu, s'offrait comme potentiel, actualisé par le projet. Fonctionnant à la fois comme le catalogue de deux expositions, au CAN puis à Post Territory Ujeongguk à Séoul en 2017 et comprenant une série de textes dus à des curateurs et des théoriciens coréens, ainsi qu'aux curateurs du projet, cette publication poursuit la recherche initiée autour des pensées modernistes et l'horizon de possibles qu'elles offrent à des artistes contemporains, entre la Suisse et la Corée du sud."

Neo Geography

École cantonale d'art (Lausanne, Suisse)

Since the 1990s, a "cinematographic turn" has taken place in contemporary art, paralleled by the emergence of a "cinema of exhibition." This collection of new essays investigates the relationships between the "white cube" and the "black box," focusing mainly on the 1970s, a decade in which film practices and moving images were integrated into museums and art spaces. The authors analyze multiple modalities of presenting the moving image through historical case studies: the anatomy of video art, expanded cinema, artists' films and installations, and the moving image in the public sphere. Exploring examples from the 1930s to the present, these contributions address commercial, spectacular or advertising forms of moving images, artists' performative practices, installations in large museums, exhibitions devoted to projections and festivals of experimental films.

Adeena Mey

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