Książki: „Film-Installation”

1

Gallery, Reg Vardy, red. Tony Sinden: Everything must go : installation, video and film. Sunderland: Reg Vardy Gallery, 2003.

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Iimura, Takahiko. Takahiko Iimura at the Lux: Film, video, cd-rom, installation. London: The Lux Centre, 1998.

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Iqbal, Rashid Ian, i Ikon Gallery, red. Beyond destination: Film, video and installation by South Asian artists. Birmingham: Ikon Gallery, 1993.

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4

M + M (Group of artists). M + M: Komm erst mal zu mir. Redaktorzy Weis Marc 1965-, De Mattia Martin 1963-, Emmert Claudia 1965-, Heisenberg Benjamin i Kunstpalais (Erlangen Germany). Köln: Snoeck, 2011.

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5

Julia, Stoschek, Deichtorhallen Hamburg i Julia Stoschek Foundation, red. I want to see how you see: Julia Stoschek Collection : Film, Installation, Fotografie. Hamburg: Deichtorhallen, 2010.

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Henke, Thomas. Liquid identities volume I-III: Liquid identities : a film project by Thomas Henke with installation constructions by Lorenz Estermann 2003-2008 + Doorman I : a film project by Thomas Henke with installation constructions by Lorenz Estermann 2003-2008. Bielefeld: Kerber, 2008.

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7

Iles, Chrissie. Signs of the times: A decade of video, film and slide-tape installation in Britain, 1980-1990. Oxford: Museum of Modern Art, 1990.

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8

Sabine, Himmelsbach, Filser Barbara, Margreiter Dorit 1967- i Edith-Russ-Haus für Medienkunst, red. Amie Siegel: Berlin Remake. Oldenburg: Edith-Russ-Haus für Medienkunst, 2006.

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9

Weiru, CHEN, i LAI Meihsing, red. Kao Chung-Li: Watch Time Watching. Taipei, Taiwan: Tina Keng Gallery, 2010.

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10

Dick, Goody, i Meadow Brook Art Gallery, red. Drawing, painting, sculpture, installation art, photography & film by artists of the Catharctic Circle : March 9-April 8, 2001, Meadow Brook Art Gallery ; curator & editor, Dick Goody. Rochester, Mich: Meadow Brook Art Gallery, 2001.

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11

London, Barbara. Video spaces: Eight installations. New York: Museum of Modern Art, 1995.

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12

Beuys, Joseph. Partisanen der Utopie -- Joseph Beuys, Heiner Müller: Installation, Skulptur, Text, Fotografie, Film : eine Ausstellung zum 75. Geburtstag von Heiner Müller [28. März bis 4. Juli 2004], mit einer Hommage an Heiner Müller von Jonathan Meese. Berlin: Holzwarth, 2004.

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13

Groys, Boris, Wolfgang H. Scholz, Wolfgang H. Scholz i Irving Dominguez. Void: In Photography, Film, Performance, and Installation. Turner, Ediciones S.A., 2020.

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14

Bal, Mieke. Thinking in Film. Bloomsbury Publishing Plc, 2013. http://dx.doi.org/10.5040/9781350335080.

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What is a moving image, and how does it move us? In Thinking In Film, celebrated theorist Mieke Bal engages in an exploration - part dialogue, part voyage - with the video installations of Finnish artist Eija-Liisa Ahtila to understand movement as artistic practice and as affect. Through fifteen years of Ahtila's practice, including such seminal works as The Annunciation, Where Is Where? and The House, Bal searches for the places where theoretical and artistic practices intersect, to create radical spaces in which genuinely democratic acts are performed. Bringing together different understandings of 'figure' from form to character, Bal examines the syntax of the exhibition and its ability to bring together installations, the work itself, the physical and ontological thresholds of the installation space and the use of narrative and genre. The double meaning of 'movement', in Bal's unique thought, catalyses anunderstanding of video installation work as inherently plural, heterogenous and possessed of revolutionary political potential. The video image as an art form illuminates the question of what an image is, and the installation binds viewers to their own interactions with the space. In this context Bal argues that the intersection between movement and space creates an openness to difference and doubt. By 'thinking in' art, we find ideas not illustrated by but actualized in artworks. Bal practices this theory in action to demonstrate how the video installation can move us to think beyond ordinary boundaries and venture into new spaces. There is no act more radical than figuring a vision of the 'other' as film allows artto do. Thinking In Film is Mieke Bal ather incisive, innovative best as she opens up the miraculous political potential of the condensed art of the moving image.

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Bal, Mieke. Thinking in Film: The Politics of Video Art Installation According to Eija-Liisa Ahtila. Bloomsbury Publishing Plc, 2013.

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Bal, Mieke. Thinking in Film: The Politics of Video Art Installation According to Eija-Liisa Ahtila. Bloomsbury Publishing Plc, 2013.

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Thinking in Film: The Politics of Video Art Installation According to Eija-Liisa Ahtila. Bloomsbury Publishing Plc, 2013.

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18

White cube/black box: Skulpturensammlung : Video Installation Film : Werkschau Valie Export und Gordon Matta-Clark : Vorträge. Wien: EA-Generali Foundation, 1996.

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Signs of the Times: A Decade of Video, Film and Slide-Tape Installation in Britain 1980-1990. Hyperion Books, 1990.

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20

Amie Siegel: Catalogue. Inventory Press, 2015.

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21

Crawford, Margo Natalie. Black Inside/Out. University of Illinois Press, 2018. http://dx.doi.org/10.5406/illinois/9780252041006.003.0007.

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The sixth chapter examines the role of inner and outer space in cultural productions of black post-blackness. Crawford develops a theory of black public interiority (a theory of black cultural movements’ ability to create a sense of shared interiority within the public space of the collective). She argues that the Black Arts Movement was aspiring for public art that could be experienced as both a black interior and an open space created by a collective. This chapter analyzes a range of installation art and other visual art, film, and letter writing that dramatize the black interior being experienced as the black outdoors. Crawford demonstrates that the BAM set in motion a vital process (that black aesthetics continue to engage) of refusing to allow black interiority to be defined as the province of the black bourgeoisie. The art examined includes installation art created by Kara Walker, outdoor murals, the film Night Catches Us, the letter writing of Carolyn Rodgers and Hoyt Fuller, and more.

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22

Nash, Mark, Bell Hooks, Laura Mulvey, Kobena Mercer, Paul Gilroy, Stuart Hall i Giuliana Bruno. Isaac Julien: Riot. The Museum of Modern Art, New York, 2014.

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Turim, Maureen, i Michael Walsh. Sound Events. Redaktorzy John Richardson, Claudia Gorbman i Carol Vernallis. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.013.0026.

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This article appears in theOxford Handbook of New Audiovisual Aestheticsedited by John Richardson, Claudia Gorbman, and Carol Vernallis. This chapter is a comprehensive survey of sound practices in avant-garde film, video art, and installation art since the 1960s. It addresses a series of artistic approaches to sound: silence, tone and drone, antic and aleatory, multilayering and cacophony, work with voices, legacies of cinematic exhibition, and resonant spaces in galleries and museums. It is broadly chronological, beginning with major figures of the 1960s and ending with artists currently working. The chapter does not deny medium specificity, but moves easily among celluloid film, video formats, and gallery installation. Theoretical perspectives derive from the debate between Deleuze and Badiou on the nature and frequency of “the event,” a restaging of the discussion on the value of experiment and innovation. The chapter is wide-ranging enough to be synoptic, but also provides detailed discussion of works by Larry Gottheim, Abigail Child, Andy Warhol, Christian Marclay, Janet Cardiff, and Bruce High Quality Foundation.

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Beagles, John. ToDoJoyComplete. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450078.

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ToDoJoyComplete is a short 3D digital film (approximately 6 minutes) by the collaborative duo Beagles and Ramsay.A speculation about digital aesthetics, the film combines the experimental use of 3d animation software with insights from Beagles’ published research on the impact of digital culture. The film shows a number of disconnected figures moving and occupying an anonymous artificially-lit and disorientating interior that is reminiscent of a contemporary art installation. A dehumanised voiceover comprises the key feature of the soundtrack. Since its first presentation in 2016, at The Scottish Endarkenment: Art and Unreason 1945 to the Present, Dovecot Gallery, Edinburgh from 13 May – 29 August 2016, the film has been shown in different iterations in 5 national and international venues including London, Glasgow and Copenhagen. See Significance, page 17 for full list.

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25

Larsson, Annika, Eija-Liisa Ahtila, Tacita Dean, Steve McQueen, David Weiss, Tony Oursler, Gillian Wearing i in. Fast Forward. Ingvild Goetz/Stephan Urbaschek, 2004.

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26

Walley, Jonathan. Cinema Expanded. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190938635.001.0001.

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Cinema Expanded: Avant-Garde Film in the Age of Intermedia is a comprehensive historical survey of expanded cinema from the mid-1960s to the present. It offers an historical and theoretical revision of the concept of expanded cinema, placing it in the context of avant-garde/experimental film history rather than the history of new media, intermedia, or multimedia. The book argues that while expanded cinema has taken an incredible variety of forms (including moving image installation, multi-screen films, live cinematic performance, light shows, shadow plays, computer-generated images, video art, sculptural objects, and texts), it is nonetheless best understood as an ongoing meditation by filmmakers on the nature of cinema, specifically, and on its relationship to the other arts. Cinema Expanded also extends its historical and theoretical scope to avant-garde film culture more generally, placing expanded cinema in that context while also considering what it has to tell us about the moving image in the art world and new media environment.

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27

Odenbach, Marcel, Tony Oursler, Teiji Furuhashi, Chris Marker, Brad Miskell, Bill Viola, Barbara London, Gary Hill, Judith Barry i Stan Douglas. Video Spaces: Eight Installations. The Museum of Modern Art, New York, 2002.

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Staelpart, Crystal. Reenacting Modernist Time. Redaktor Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.15.

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In The Refusal of Time (2012), South African artist William Kentridge reveals how the Western time regime is a central tenet of modernity, capitalism, and colonialism. Featuring a remarkable reenactment of the famous serpentine dance of Loïe Fuller, this multimedia installation provides a sharp comment on the Western conception of dance history. In having this iconic dance reenacted by Dada Masilo, a dancer of color, Kentridge questions white supremacy in the history of dance. Moreover, having the film sequence of the dance solo shown backward, the images also dismantle the modernist, chronological conception of time and history. This critical reenactment, like the dancing figures in the closing parade of The Refusal of Time, in fact reveal the modernist desire to reenact history along a chronological timeline. Connecting Kentridge’s The Refusal of Time with Deleuze’s onto-aesthetics, this chapter observes how reenactment can articulate an ontological politics of time and movement.

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29

Radner, Hilary, i Alistair Fox. The Digital Challenge: From the Theater to the Gallery. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474422888.003.0003.

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This chapter demonstrates how Bellour’s work on video art (or what was later termed moving-image installation art), while a product of his own preoccupations, is situated firmly within more general speculations about spectatorship. Confronting this new medium, or media, as it turned out, Bellour introduced the notion of “le spectateur pensif,” the pensive spectator, or the spectator engaged in thought – who is not an entirely rational spectator, nor one who is completely sutured into the narrative as some scholars felt was the case with the spectator of classical cinema. He also sees the emergence of new relations between images which he calls “l’entre-images,” the between-images, complicating his initial ideas about the “défilement,” a concept, at least initially, referred to the movement of the celluloid print through the projector’s mechanism and the filing past of the cinema images in front of the spectator. In this same period, Bellour, along with film critics such as Serge Daney and filmmakers like Jean-Luc Godard, began to speculate about the death of cinema due to the changing situations (or dispositifs) in which the spectator encounters the moving image. An important influence on his thinking as this time was the film theorist turned video artist Thierry Kuntzel.

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Mannur, Anita. Intimate Eating. Duke University Press, 2022. http://dx.doi.org/10.1215/9781478022442.

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In Intimate Eating Anita Mannur examines how notions of the culinary can create new forms of kinship, intimacy, and social and political belonging. Drawing on critical ethnic studies and queer studies, Mannur traces the ways in which people of color, queer people, and other marginalized subjects create and sustain this belonging through the formation of “intimate eating publics.” These spaces—whether established in online communities or through eating along in a restaurant—blur the line between public and private. In analyses of Julie Powell’s Julie and Julia, Nani Power’s Ginger and Ganesh, Ritesh Batra’s film The Lunchbox, Michael Rakowitz’s performance art installation Enemy Kitchen, and The Great British Bake Off, Mannur focuses on how racialized South Asian and Arab brown bodies become visible in various intimate eating publics. In this way, the culinary becomes central to discourses of race and other social categories of difference. By illuminating how cooking, eating, and distributing food shapes and sustains social worlds, Mannur reconfigures how we think about networks of intimacy beyond the family, heteronormativity, and nation.

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Vernallis, Carol, Amy Herzog i John Richardson, red. The Oxford Handbook of Sound and Image in Digital Media. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199757640.001.0001.

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This collection of essays explores the relations between sound and image in a rapidly shifting landscape of audiovisual media in the digital age. Featuring contributions from scholars who bring with them an impressive array of disciplinary expertise, from film studies and philosophy to musicology, pornography, digital gaming, and media studies, the book charts new territory by analyzing what it calls the “media swirl” and the “audiovisual turn.” It draws on a range of media texts including blockbuster cinema, video art, music videos, video games, amateur video compilations, visualization technologies, documentaries, and immersive theater to address myriad subjects such as the transition of cinematic discourses to digital production and distribution, the relations between screens and public space, and the shifting nature of noise within digital ecosystems. It also examines noise, droning, and silence as recurring themes in New Extremist films of Europe, along with temporal and generic anomalies by citing examples such as the Silent Hill videogame series, the performance/installation Sleep No More, and the poetics of David Lynch’s Inland Empire. In addition, the book discusses the translation of information into digital media, how music has both shaped and become embedded within the aesthetic culture of political conflict, the nature of “realism” in relation to new audiovisual media networks, and the accelerated aesthetics of networked mediascape and the ways in which they may be connected to contemporary labor and global capitalism.

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Century, Michael. Northern Sparks. The MIT Press, 2022. http://dx.doi.org/10.7551/mitpress/10818.001.0001.

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An “episode of light” in Canada sparked by Expo 67 when new art forms, innovative technologies, and novel institutional and policy frameworks emerged together. Understanding how experimental art catalyzes technological innovation is often prized yet typically reduced to the magic formula of “creativity.” In Northern Sparks, Michael Century emphasizes the role of policy and institutions by showing how novel art forms and media technologies in Canada emerged during a period of political and social reinvention, starting in the 1960s with the energies unleashed by Expo 67. Debunking conventional wisdom, Century reclaims innovation from both its present-day devotees and detractors by revealing how experimental artists critically challenge as well as discover and extend the capacities of new technologies. Century offers a series of detailed cross-media case studies that illustrate the cross-fertilization of art, technology, and policy. These cases span animation, music, sound art and acoustic ecology, cybernetic cinema, interactive installation art, virtual reality, telecommunications art, software applications, and the emergent metadiscipline of human-computer interaction. They include Norman McLaren's “proto-computational” film animations; projects in which the computer itself became an agent, as in computer-aided musical composition and choreography; an ill-fated government foray into interactive networking, the videotext system Telidon; and the beginnings of virtual reality at the Banff Centre. Century shows how Canadian artists approached new media technologies as malleable creative materials, while Canada undertook a political reinvention alongside its centennial celebrations. Northern Sparks offers a uniquely nuanced account of innovation in art and technology illuminated by critical policy analysis.

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Shanahan, Ann M., red. The Great North American Stage Directors. Bloomsbury Publishing Plc, 2022. http://dx.doi.org/10.5040/9781350045415.

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This volume assesses the work of Meredith Monk, Richard Foreman, and Robert Wilson, three artists who have revolutionized the craft of directing and the art of theatre in both related and unique ways. Though their early artistic backgrounds differ, ranging from architecture, music and dance to writing, they are similar in that none of them began their career as a director per se or received formal training as such. They each assumed the director’s role based on the demands of their complex artistic visions, which combine art forms, but resist synthesis, finding expression in the differences and tensions between the forms. The essays in this volume explore how these auteur directors combine text, movement, film, sound and music, installation and visual arts to achieve their visions, employing multi-perceptual modes to evoke full and rich theatrical experiences. The Great North American Stage Directors series provides an authoritative account of the art of directing in North America by examining the work of twenty-four major practitioners from the late 19th century to the present. Each of the eight volumes examines three directors and offers an overview of their practices, theoretical ideas, and contributions to modern theatre. The studies chart the life and work of each director, placing his or her achievement in the context of other important theatre practitioners and broader social history. Written by a team of leading experts, the series presents the genealogy of directing in North America while simultaneously chronicling crucial trends and championing contemporary interpretation.

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Książki na temat „Film-Installation”

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