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Canal Studio, Les Membres Du Conseil Horaires L’Association Le Journal Du Fresnoy D’Administration Du Fresnoy D’Ouverture Des Amis Du Fresnoy
2020 2021 № 22 P 18 INFORMATIONS PRATIQUES ÉDITO P 4 EMANUELE ALAIN FLEISCHER DIRECTEUR DU FRESNOY CAROLINE BOURGEOIS COCCIA ET PASCALE PRONNIER AVEC ENRIQUE RAMÍREZ P 15 JUSQUE-LÀ EXEPOSITION REPORTÉE DU 4 FÉVRIER 2022 AU 9 MAI 2022 P 5 Il est encore bien difficile de prévoir ce que sera accord de collaboration entre Le Fresnoy et le It is still very difficult to tell what shadow the sad Our graduates continue to score some spectac- JOAN l’ombre portée de la triste année 2020 sur 2021. ministère de la Culture d’Arabie saoudite, que year of 2020 will cast on 2021. So let’s dwell on ular successes. Bertille Bak, a recent resident at Préférons évoquer les plages de lumière. nous devons à notre président Bruno Racine. Ce the areas of light instead. the Fondation Pinault in Lens, has been invited partenariat devrait bientôt ouvrir sur de nou- to show her work at the Palazzo Grassi in Venice; FONTCUBERTA Le dernier concours d’entrée au Fresnoy a attiré velles perspectives. The last round of admissions for Le Fresnoy Randa Maroufi has been collecting awards at film un nombre record de candidatures, en prove- attracted record numbers, with applicants from festivals around the world, and the same kind of nance de quelques 45 pays sur tous les conti- Nos étudiants sortants continuent de connaître des some forty-five countries and every continent. thing has been happening to Melisa Liebenthal, nents. Nous aurons ainsi le plaisir d’accueillir succès spectaculaires : Bertille Bak, récente rési- It will be our pleasure to welcome fourteen Mili Pecherer, etc., while Nicolas Gourault, 14 étudiants étrangers et 10 Français, avec un dente de la Fondation Pinault à Lens, est invitée foreign students and ten French ones, perfectly Claire Williams, Hicham Berrada and others are parfait équilibre entre filles et garçons. -
Gilane Tawadros Talks with Omer Fast
O mer Fa st 07 September-23 October 2005 at inIVA In his first UK exhibition, Godville is constructed from interviews with eighteenth-century characters – interpreters in Colonial Williamsburg, a living-history museum in Virginia, USA. The piece presents portraits from a town somewhere in America unmoored and floating between the past and the present. The Institute of International Visual Arts For further information please contact: (inIVA) is a contemporary arts organisation promoting artists from diverse cultural inIVA (Institute of International Visual Arts) backgrounds through exhibitions, 6-8 Standard Place, Rivington Street publications, research and educational London EC2A 3BE, United Kingdom ventures. inIVA has a special interest in new Tel.: +44 20 7729 9616 technologies, international collaborations Fax: +44 20 7729 9509 and commissioning site-specific artworks. Email: [email protected] Wednesday–Saturday, 7 September – 23 www.iniva.org October 2005, 12.00–6.00pm and Sunday 18 September & 23 October Registered Charity no. 1031721 2005, 12.00–6.00pm Admission free Opposite: Omer Fast, Godville, production still (Detail), 2004 Education Curated by Nadia Fischer 20 June – 20 July In Media Res: Information, Whitechapel, London Review Postmasters (Review), Flash and Katja Garcia Anton, 13 Facing Footage, Two-Person Contre-Information, Galerie of Books, vol.27, 6 January Art, May/June 2003 MFA, Hunter College of the June – 16 September Exhibition (with Jeanne Faust) Art & Essai, Universite 2005 Roberta Smith, Art in Review: City -
Erika Balsom Und Hila Peleg: “The Documentary Attitude”
Documentary Across Disciplines Edited by Erika Balsom and Hila Peleg Haus der Kulturen der Welt, Berlin The mit Press, Cambridge, ma and London, England Contents Introduction: The Documentary Attitude 10 Montage Against All Odds 192 Erika Balsom, Hila Peleg Antonia Majaca and Eyal Sivan in Conversation Bruises and Blushes: No Man’s Land, Every Man’s Home: Photography “Beyond” Anthropology 20 Clemens von Wedemeyer’s Documentary Aporia 214 Christopher Pinney Evgenia Giannouri “The Cruel Radiance of What Is” 40 Interviews in Perspective 2: Lucien Castaing-Taylor, Véréna Paravel, Dying Documented 236 and Ben Rivers in Conversation Sylvère Lotringer “A Cage of Information,” or, Narrative, “Evidence Vérité,” and the Different What is a Biometric Diagram? 80 Truths of the Modern Trial Documentary 252 Zach Blas Stella Bruzzi Interviews in Perspective 1: The Right to One’s Self-Image 280 The Man with a Tape Recorder 92 Sohrab Mohebbi Sylvère Lotringer Data Visualization and Documentary’s 294 Photography Is Not Served: (In)visible Frontiers “The Family of Man” and The Human Condition 110 Kris Fallon Ariella Azoulay “Now that’s Brecht at last!”: Harun Farocki’s Observational Films 142 Volker Pantenburg Didactic Elegy 164 Ben Lerner Reading Between the Images 172 Christa Blümlinger Introduction: The Documentary Attitude In 1936, in the heart of the Great Depression, James Agee and Erika Balsom, Hila Peleg Walker Evans accepted an assignment from Fortune magazine to travel through the southern United States and report on the situ- ation of sharecroppers in the midst of the Dust Bowl. The result of this undertaking was not a magazine article, but a book pub- lished in 1941, Let Us Now Praise Famous Men. -
March 30-31, 2007 Conference, Conversation, Tour and Roundtable Department of Architecture, Penn School of Design Slought Founda
EVASIONS OF POWER March 30-31, 2007 Conference, Conversation, Tour and Roundtable Department of Architecture, Penn School of Design Slought Foundation, Philadelphia with Centre for Architecture Research, Goldsmiths College, London Department of Art History, University of Pennsylvania Department of English, University of Pennsylvania Eastern State Penitentiary, Philadelphia Major support for Evasions of Power has been provided by the Graham Foundation for Advanced Studies in the Fine Arts, Chicago Media sponsorship by Archinect EVASIONS OF POWER March 30-31, 2007 Conference, Conversation, Tour and Roundtable 2 of 13 PROJECT DESCRIPTION “Evasions of Power" contributes to an ongoing discourse about human rights, war, extra- territoriality, and political and social enclaves, and will be of interest to scholars and practitioners in fields ranging from art, literature, and political philosophy, to architecture, design, and urban studies. Departing from the academic convention of presenting knowledge in the form of straightforward talks or presentations, this project will feature a series of roundtable discussions, debates and interventions of varying duration, with an integrated online presence. These events reveal an array of understanding about the consequences and implications of "spatial practice" today, with presentations by distinguished artists, architects, theorists, and curators whose work explores urban zones, state borders, enclaves, and extra- territorial sites throughout the world. The conference will explore questions such as the -
Yann Chateigné Tytelman Is Currently Serving As an Associate
Yann Chateigné Tytelman — Joachim Koester, Bringing something Bio back, Bergen Kunsthall, Janvier – Mars. A curator, editor and writer ba- sed in Brussels (CH), Yann Chateigné 2017 Tytelman is currently serving as an — 1977, L’Onde, Vélizy, Paris, Mars associate curator at Kanal Foundation, – Mai. where he arranged It Never Ends, Swiss — Immersion, LiveInYourHead, Genève, artist John M Armleder’s large-scale Mars – Avril. and eight-months long carte blanche. — Joachim Koester, In the Face of There, since January 2021, he is co- Overwhelming Forces, Camden Arts operating Studio K, an online radio Center, London, Janvier -Mars. program that articulates artists’ con- 2016 versations, audio archives and sound — Talisman, Manoir de Cologny, Octo- creations. Starting in Spring 2021, he bre – Décembre. is the guest curator of Country SALTS, — Motion. Montréal/Genève, Galerie a new art space created in the coun- de l’UQAM, Montréal, LiveInYourHead, tryside near Basel (CH). Genève, Mars – Mai. He recently received a grant from the French Ministry of Culture / 2015 Centre National des Arts Plastiques — Hypnagogic Visions, Pataphysics (Paris), for a research to be taking Cabinet, Mexico DF, Août (avec Joa- place between Europe and the USA, chim Koester). in the Autumn of 2021. Since 2019, 2014 he is teaching a seminar at Erg, in — Biennial of Moving Images, Centre Brussels. d’Art Contemporain, Genève, Septem- bre – Novembre (avec Andrea Bellini Exhibitions 2020 and Hans-Ulrich Obrist). — It Never Ends, John M Armleder & — 6 – 4 – 2., LiveInYourHead, Ge- Guests, Kanal – Centre Pompidou, nève, Septembre – Octobre.Combusti- Bruxelles Septembre 2020 – Avril on, SAKS, Genève, Janvier – Février 2021 (avec Bernard Blistène). -
The Persistence of Observational Documentary in the Age of Post
Graduate Journal for the Study of Culture // No. 1 - 2nd Series // Issue Suspicion // July 2019 Rehabilitating Observation: The Persistence of Observational Documentary in the Age of Post-Truth Politics Nanna Rebekka Jensen University of Copenhagen / Independent e-mail: [email protected] Abstract | With the postmodernist realignment of our epistemological foundations, contemporary documentary has come to be marked by the idea that problematizing the relationship with the real is inherently good and progressive, and that the core quality of contemporary documentary has come to be its suspicion towards its own relationship to the real (Steyerl 2011; Rangan 2014; Takahashi 2015). In a time, which the assertion of the indiscernibility between fact and fiction has been appropriated by discourses of power I will argue that the facticity of reality needs our attention and care more than our suspicion. Thus, following philosophical proposals for a new empiricism (Latour 2004; Haraway 1988), and a Bazinian ontologization of cinema (Bazin 2005a, 2005b), I will argue for the persistence of observational documentary and a new critical realism set in the vein of contemporary observational documentary practises like Lucien Castaing-Taylor and Véréna Paravel’s Leviathan (2012) and Kevin Jerome Everson’s Tonsler Park (2017). Keywords | documentary theory, truth production, observational documentary, new empiricism, situated knowledges, reflexivity, lens-based capture, representation Diffractions Nanna Rebekka Jensen Rehabilitating Observation 4 - 1 (36) Graduate Journal for the Study of Culture // No. 1 - 2nd Series // Issue Suspicion // July 2019 Documentary cinema is characterized by an unsurpassed frequency with which it reflects on its relationship to truth (Nichols 1991; Balsom 2017b). -
La Montagne Invisible Ben Russell
La montagne invisible 23.01 – 05.04.20 Ben Russell Artiste, cinéaste et commissaire d’exposition, le travail de Ben Russell se déploie surtout in situ, sur le lieu de projection, et nous invite à une expérience à la fois incarnée et hallucinatoire de l’image documentaire. La montagne invisible est une installation audiovisuelle multiple conçue comme un voyage vers l’infini : une immersion dans la documentation filmée retraçant le pèlerinage d’un voyageur finlandais en quête d’un sommet utopique, qui prend la forme d’un labyrinthe vidéo, où prologues, épilogues et interludes disruptifs s’entremêlent. Formant l’un des chapitres d’un important projet multiforme intitulé THE INVISIBLE MOUNTAIN,* l’installation de Ben Russell au Plateau s’inspire, à l’instar d’Alejandro Jodorowsky, Philippe Parreno, Patti Smith et John Zorn, de l’œuvre de René Daumal, Le Mont Analogue (1952). Puisant librement dans cette nouvelle décrivant la quête impossible d’un groupe d’explorateurs à la recherche d’une montagne utopique flottant dans l’océan, THE INVISIBLE MOUNTAIN prend pour objet une quête spirituelle actuelle, dont la trajectoire nous mène de la Finlande à la Grèce jusqu’à l’au-delà. L’espace du Plateau est transformé en une chorégraphie de mouvements où le voyage – à la fois road trip / tournée de concerts / pèlerinage / état d’altération – est le sujet central. La bande-son évolutive et hypnotique se caractérise par une approche sculpturale du son (réalisé en collaboration avec le créateur sonore Nicolas Becker). L’image est traitée de manière *La présentation au Plateau de La montagne invisible est à produire des effets de synchronisation stroboscopique aléatoires l’un des chapitres du projet en quatre parties THE INVISIBLE à travers un ensemble d’écrans. -
Day2020.Pdf (4.239Mb)
This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. UNIVERSITY OF EDINBURGH Pop Cinema: Aesthetic Conversations between Art and the Moving-Image By Tom Day Thesis submitted in fulfilment of the Requirements for the Degree of Doctor of Philosophy School of Design Edinburgh College of Art University of Edinburgh December 2019 I Declaration I declare that this thesis has been composed solely by myself and that it has not been submitted, in whole or in part, in any previous application for a degree. Except where stated otherwise by reference or acknowledgment, russthe work presented is entirely my own. Thomas Day December 2019 II Contents Title Page I Declaration II Contents III Abstract IV Acknowledgements VII List of Figures IX Introduction: Cinema -
DOCUMENTARY Forum 2
HILA PELEG SYLVÈRE LOTRINGER FLORIAN SCHNEIDER THE DOCUMENTARY FRAMING DEATH REALITY MUST BE EVENT P. 28 DEFENDED P. 4 P. 45 SYLVÈRE LOTRINGER ANTJE EhMANN JOHNNY ESPOSITO KLAUS WILDENHAHN HARUN FAROCKI CRIME IS EVERYWHERE FOURTH READING: VOLKER PANTENBURG P. 39 KINO-EYE. FUNDAMENTAL CONTROL AND DIFFERENCES CONTINGENCY P. 54 P. 12 CORDULA DAUS CHRISTOphER PINNEY CHRISTINE MEISNER SALUTARY DISQUIETING NATURE ESTRANGEMENT P. 62 P. 19 DOCUMENTARY Forum 2 31 May – 3 June 2012 NEW PRACTICES ACROSS DISCIPLINES 2 BERLIN DOCUMENTARY FORUM 2 CREDITS PREFACE Artistic Director: Hila Peleg “The Pixelated Revolution” by Rabih Mroué is co-produced by: Berlin Documentary Forum / Haus der Kulturen der Welt, The Spalding Gray Award, Performing Space Research and Program Coordination: Koen Claerhout, 122/New York, The Andy Warhol Museum/Pittsburgh, On the Boards/Seattle and Nadja Talmi The Walker Art Center/Minneapolis, dOCUMENTA (13)/Kassel. Curator “A Blind Spot”: Catherine David “Disquieting Nature” by Christine Meisner is produced in cooperation with The A high hedge cuts diagonally through the photo, extending from the Coordinator “A Blind Spot”: Elsa de Seynes Walter Collection. Festival Office: Andrea Schubert “Melodrama” by Eszter Salamon is supported by The Capital Cultural Fund Berlin foreground into the background. It blocks the observer’s view of the realm Architecture Berlin Documentary Forum 2: Kooperative and co-produced by Berlin Documentary Forum / Haus der Kulturen der Welt, beyond and marks a border. No people are visible, yet the paved road Festival des Arts Vivants/Nyon, Next Festival/Valenciennes. für Darstellungspolitik indicates that this setting has not simply been left in its natural state. -
Colophon Authors Francesco Garutti, Kersten Geers, Kuehn Malvezzi, Hila Peleg Artists Candida Hoefer, Armin Linke Photos Ulrich
Common Ground Colophon Kuehn Malvezzi – Making Archipelagos 3 Authors Francesco Garutti, Kersten Geers, Kuehn Malvezzi, Hila Peleg Artists Candida Hoefer, Armin Linke Hila Peleg in Conversation with Armin Linke 13 Photos Ulrich Schwarz, Giovanna Silva Concept and Production Kuehn Malvezzi Kuehn Malvezzi – Kinaesthetic Narratives 25 Editorial Oce Samuel Korn Copy Editor Rosemary Heather Francesco Garutti in Conversation with Kuehn Malvezzi 33 Design and Layout Double Standards Paper ResaOset 60 Kuehn Malvezzi – Models, by Way of Display 43 Typeface Garamond Premier Pro Printing NuovaLitoEe srl, Piacenza Kersten Geers – Method as Form 55 Publisher Mousse Publishing Via Arena 23, I-20123 Milano, Italy www.moussepublishing.com [email protected] ©2012 Mousse Publishing, Kuehn Malvezzi, the authors and the artists. All rights reserved. No part of this publication may be reproduced in any way or by any means without prior written permission of the publisher. 1 Kuehn Malvezzi – Making Archipelagos Hybrids Esperanto is based on relation and just like a pidgin language makes identities blur. It is a hybrid. Language parts of dierent origins are forged into a composite language, articial and concrete at once. Its elements relate to each other in the generation of new meanings based on the in-between. Esperanto as a transnational language is a considered cross-breeding with Universalist ambitions; it is a modernist invention that met resistance in real life. Its failure to become a commonly spoken language is a fact, just as modern architecture has not become part of the mainstream: there are other kinds of lingua franca today. Like Esperanto, architecture intended to constitute a common ground appears instead to be sectarian in the midst of contemporary pluralism. -
Anthrovision, Vol. 7.2 | 2019 Through Prisms 2
Anthrovision Vaneasa Online Journal Vol. 7.2 | 2019 Epistemic Disobedience Through Prisms Practice-based Research on the Intentions of Collaborative Filmmaking An van Dienderen, Natalie Gielen, Eléonore Yaméogo and with a commentary by Rosine Mbakam Electronic version URL: http://journals.openedition.org/anthrovision/5931 DOI: 10.4000/anthrovision.5931 ISSN: 2198-6754 Publisher VANEASA - Visual Anthropology Network of European Association of Social Anthropologists Electronic reference An van Dienderen, Natalie Gielen, Eléonore Yaméogo and with a commentary by Rosine Mbakam, “Through Prisms”, Anthrovision [Online], Vol. 7.2 | 2019, Online since 10 November 2020, connection on 27 January 2021. URL: http://journals.openedition.org/anthrovision/5931 ; DOI: https://doi.org/ 10.4000/anthrovision.5931 This text was automatically generated on 27 January 2021. © Anthrovision Through Prisms 1 Through Prisms Practice-based Research on the Intentions of Collaborative Filmmaking1 An van Dienderen, Natalie Gielen, Eléonore Yaméogo and with a commentary by Rosine Mbakam PRISM and this article are part of the research project “China Girls and the Color Genie. A multichronotopic research” from 2015 till 2019, and the following research project from 2020 onwards initiated by Dr. An van. Dienderen at KASK / School of Arts Ghent and generously funded by the University College Ghent Research Fund, VAF, the Flemish Audiovisual Fund, and Beursschouwburg Brussels. Challenging the White-centricity of Film 1 Issues of power and race in film studies are generally discussed through the finished products (films) and the relation to their contexts. By contrast, this contribution wishes to further such analysis by exploring the context of the process of creation of film (van. -
Gordon Matta-Clark Born 1943 in New York
This document was updated November 24, 2020. For reference only and not for purposes of publication. For more information, please contact the gallery. Gordon Matta-Clark Born 1943 in New York. Died 1978. EDUCATION 1963-1968 B.A. in Architecture, Cornell University, Ithaca, New York 1962-1963 French Literature, Sorbonne University, Paris SOLO EXHIBITIONS & PROJECTS 2020 GORDON MATTA-CLARK: UNRAVEL THE UNFOUND, KØS Museum of Art in Public Spaces, Køge, Denmark Line of Flight: Gordon Matta-Clark, selected by Kitty Scott, Canadian Centre for Architecture, Montreal 2019 Gordon Matta-Clark: Food, MAMCO Musée d’art moderne et contemporain, Geneva Material Thinking: Gordon Matta-Clark, selected by Yann Chateigné, Canadian Centre for Architecture, Montreal Passing Through Architecture: The 10 Years of Gordon Matta-Clark, Power Station of Art, Shanghai Rough Cuts and Outtakes: Gordon Matta-Clark, selected by Hila Peleg, Canadian Centre for Architecture, Montreal 2018 Collecting Matta-Clark: La raccolta Berg. Opere, documenti e ephemera, Accademia Nazionale di San Luca, Rome [catalogue] Gordon Matta-Clark: Mutation in Space, The National Museum of Modern Art, Tokyo [catalogue] Gordon Matta-Clark: Works 1970-1978, David Zwirner, London 2017-2020 Gordon Matta-Clark: Anarchitect, The Bronx Museum of the Arts, New York [itinerary: Jeu de Paume, Paris; Kumu kunstimuuseum, Tallinn, Estonia; Rose Art Museum, Brandeis University, Waltham, Massachusetts] [catalogue] 2017 Cut, Split & Eat: Gordon Matta-Clark, Kasteel Wijlre, The Netherlands [publication] Gordon