Cinema in the Expanded Field
François Bovier, Adeena Mey
JRP Ringier Kunstverlag AG, 8 Feb 2016
The Multiple Site of Expanded cinema
Francois Bovier and Adeena Mey
the history, theory, and practice of exhibition artists’ cinema, video, and installation, by focusing on the domains of performance and the “expanded” art.
The intention is to sketch alternative archaeologies of film exhibitions and expand their histories as indexed either to the black box or white cube. We aim to map situations of cross-pollinations and hybridization, between these two apparatuses, as well as those of mutual exclusion, and account for the singularity. (intro, 6)
If the configuration of the architecture of the spaces of projection and exhibition is taken into account from the perspectives of digital images and virtual technologies as Lev Manovich suggests, the immutability of these apparatuses vanishes. The “cinema” dissolves and refonfigures itself through digital distribution practices which go beyond the apparatus of the black box, as well as musesum exhibition conventions, which each presuppose the relative stability of the work. (6-7) 각 매체 간의 immutability는 vanish된다는 Manovich글 인용 (2006 글임.)
Expanded cinema is a hybrid and intermedia practice in its mode of existence and manifestation. (후반부에 인용해라.) (8)
In the wake of intensifying debates on the current state and future of the moving image-through an increasing amount of original historical case studies on one side and the analysis of “post-cinematic” forms in their alignment with digital culture on the other, both entering academic discourse-and its corollary, the repeated announcement of a “death” of cinema, this book aim to relativize both a romantic defense of celluloid and a technophile embrace of a more “democratic” circulation and consumption of moving images. (11)3
Fist Fight (1964) and Originale (1961) : Intermedia Tendencies of Avant-Garde Art in the 1960s.
Juan Carlos Kase
In the last 1950s to 1960s, many critics noted . 이 부분에서 painting등에서 Jackson Pollock 등으로부터 시작된 다양한 시도들이 expanded cinema와 동시대적으로 일어났다고 이야기 했다.
Artists were expanding the frames of their work, moving off the canvas into the spaces that surrounded it, marrying painterly instincts with performance, and applying the temporal possibilities of theater, music and film to the social spaces of fine art. (55)
This shift in the art world was simultaneous with similar shifts in experimental cinema. Throughout the 1960s, a trend developed toward the expansion of the materials of cinema, including multiple projection, live performance, video technologies, television sets, expanded and reformed frames of projection,이 부분에서 PM과의 차이점!!! 여전히 FRAME을 사용하고 있다. NON-frame은 아니다!!!!! and increasingly immersive atmosphere. (56)
One can see in this cultural moment a heightened synthesis of the materials and representational strategies of myriad art forms including painting, performance, music and film. (56) 이건 PM하고 공통점들.
Non-Institution:Finding Expanded Cinema in the Terrains Vagues of 1960s London
Whitney museum’s ambitious 2001 exploration of “projected light” works from the 1960s and 1970s, Into the Light (2001), and the thorough exposition of postwar expanded cinema seen at the X Screen(2004) exhibition at MUMOK, Vienna, are both examplary of rehabilitative projects of artist filmmakers such as Anthony McCall back into the spotlight, and have emphasized the diverse and proliferate use of film and video projection in the spaces of the gallery in the postwar period. (76)
이거 전시 정리하는데 써 먹어라.