Collection and Recollection; on film itineraties and museum walks – Giuliana Bruno

Collection and Recollection; on film itineraties and museum walks – Giuliana Bruno

이 글에서도 여전히 cinema를 architecture와 연결하면서 site-seeing 어쩌구 이러고 있다. 아무래도 architecture의 진짜, physical, literal한 movement를 자꾸 시네마의 mental, psychological movement와 연결지으니까 공감이 안 가는 것 같다. 차라리 비디오 설치작업이나 프로젝션 맵핑에는 적용 가능한 이론이다. 훨씬 나을듯. 비디오 설치 작업도 마찬가지로 cinema의 virtual movement의 영향 받았다고 주장하는데, 역시 I cannot agree.

In its many compelling forms, exhibition has become a locus of serious artistic practice as well and a site for study of the design politics of artistic space. (내 방법론에 인용하기) (232)

저자는 여전히 video art installation도 cinema의 영향 context안에서 파악하려고 한다. 뭔가 구시대적이다… what has occurred in the exhibition space is something that resembles a drive to access the work of the film apparatus itself in relation to modes of picturing. Having gained this access, the installation space then contributes to a remapping of the cultural space of the cinema. (236)

We are still coupling motion with emotion in filmic reels and in mnemotechnical art installation that reworks the matter fo cinematics.  In many ways, cinema exsits for today’s artists outside of cinema as a historic space. … In the gallery or the museum, one has the recurring sense of taking a walk through -or even into-a film and of being asked to re-experience the movement of cinema in different ways as one refigures its cultrual ground fo ‘site-seeing.’ 이게 공감이 안 간다는 거지. (238)

She who wanders through as art installtion acts precisely like a film spectator absorbing and connecting visual spaces. .. If, in the movie theate, the filmic-archictectural promenade is a kinesthetic process, in the art gallery, one literally walks into the space of the art of memorh and into its architecturally produced narrative. (246) 이게 내 포인트이다. 가상적 움직임과 리터럴한 움직임을 동급으로 평가할 수는 없다. 

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