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After the Avant-Garde
Screen Cultures: German Film and the Visual Series Editors: Gerd Gemünden (Dartmouth College) Johannes von Moltke ( University ofMichigan) After the Avant-Garde Contemporary German and Austrian Experimental Film Edited by Randall Halle and Reinhild Steingröver CAMDEN HOUSE Rochester, New York Copyright© 2008 by the Editors and Contributors Contents All Rights Reserved. Except as permitted under current legislation, no part of this work may be photocopied, stored in a retrieval system, published, performed in public, adapted, broadcast, transmitted, List of Illustrations vii recorded, or reproduced in any form or by any means, Acknowledgments ix without the prior permission of the copyright owner. First published 2008 Introduction 1 by Camden House Randall Halle and Reinhild Steingröver Camden House is an im print of Boydell & Brewer Inc. 668 Mt. Hope Avenue, Rochester, NY 14620, USA Contexts www.camden-house.com 1: The Future of"Art" and "Work" in the Age of and of Boydell & Brewer Limited Vision Machines: Harun Farocki 31 PO Box 9, Woodbridge, Suffolk IP12 3DF, UK www.boydellandbrewer.com Thomas Elsaesser ISBN-13:978-1-57113-365-6 2: The Embodied Film: Austrian Contributions to ISBN-10: 1-57113-365-8 Experimental Cinema 50 Bernadette Wegenstein Library of Congress Cataloging-in-Publication Data 3: Interview with Filmmaker Birgit Hein 69 After the avant-garde : contemporary German and Austrian experimental Randall Halle and Reinhild Steingröver film/ edited by Randall Halle and Reinhild Steingröver. p. cm. - (Screen cultures) 4: Videorebels: Actions and Interventions of the lncludes bibliographical references and index, German Video-Avant-Garde 80 ISBN-13: 978-1-57113-365-6 (hardcover: alk. -
Rude & Playful Shadows: Collective Performances of Cinema in Cold
Rude & Playful Shadows: Collective Performances of Cinema in Cold War Europe by Megan E Hoetger A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Performance Studies and the Designated Emphases in Critical Theory and Film Studies in the Graduate Division of the University of California, Berkeley Committee in charge: Shannon Jackson, Chair Julia Bryan-Wilson Abigail De Kosnik Anton Kaes Spring 2019 Abstract Rude & Playful Shadows: Collective Performances of Cinema in Cold War Europe by Megan E Hoetger Doctor of Philosophy in Performance Studies University of California, Berkeley Professor Shannon Jackson, Chair “Rude & Playful Shadows: Collective Performances of Cinema in Cold War Europe” is a historical examination, which engages rigorous discursive and performance-based analysis of underground film screening events that crossed the West/East divide and brought together an international group of artists and filmmakers during some of the “hottest” years of the Cold War period. At its center, the study investigates the practices of two pioneering filmmakers, Austrian Kurt Kren (b. Vienna, 1929; d. Vienna, 1998) and German Birgit Hein (b. Berlin, 1942). Tracking their aesthetic, ideological, and spatial reconfigurations of the cinematic apparatus—their “performances of cinema”—in Austria and former West Germany, the dissertation demonstrates how Kren and Hein were progenitors of influential new viewing practices that operated in the tacit geopolitical interstices between nation- states and underground cultures. Contemporary art, film, and media scholarship tends to move in one of two directions: either toward aesthetic inquiries into the appearance of moving images and other time-based arts in the visual art museum since the 1990s, or toward the politics of global media distribution in the digital age. -
P a U L a C O O P E R G a L L E
P A U L A C O O P E R G A L L E R Y CHRISTIAN MARCLAY Biography Born: 1955 San Rafael, California Lives and works in London and New York City Studies: 1975-1977 Geneva, Switzerland, Ecole Supérieure d'Art Visuel. 1977-1980 Boston Massachusetts College of Art, Bachelor of Fine Arts. 1978 Cooper Union in New York exchange student program. Awards 2008 The Kitchen Spring Gala Benefit, Honoring Christian Marclay, New York, NY (5/21/08) 2003 Foundation for the Graphic Arts in Switzerland. Selected One-Person Exhibitions 2008 “Christian Marclay: Replay” DHC/ART Foundation for Contemporary Art, Montreal, Canada (11/30/08 – 3/29/09) “Christian Marclay” Paula Cooper Gallery, New York (9/4 – 10/11/08) “Honk if you love silence” Musée d’Art Moderne et Contemporain, Geneva, Switzerland (6/25- 9/21/08) “Christian Marclay,” Galerie Art & Essai, Université de Rennes 2 Haute-Bretagne, Rennes, France (5/8 – 6/17/08) “Christian Marclay: SNAP!” Université Rennes 2, Rennes, France (5/7-6/17/08) “Christian Marclay: Stereo,” Fraenkel Gallery, San Francisco (5/1-6/28/08) 2007 “Intensities: Nonconformity, Impropriety and Rebellion Between Art and the Music Scene,” curated by David G. Torres, Torre Muntadas Art Center, El Prat de Llobregat, Pain (11/23/07-1/27/08); traveling to Can Palauet Art Center, Mataró, Spain (4/4-5/11/08) “Screenplay,” The Wire 25, London, England (11/22/07) “Christian Marclay,” Michael Benevento, Lost Angeles, CA (11/3-12/8/07) “Christian Marclay, The Sounds of Christmas,” Musée d’Art Moderne et Contemporain, Geneva, Switzerland (12/11-12/23/07, 12/19/07) “Up and Out,” ARTPROJX and White Cube, Prince Charles Cinema, London, England – October 13, 2007. -
CHRISTIAN MARCLAY Biography
P A U L A C O O P E R G A L L E R Y CHRISTIAN MARCLAY Biography Born 1955 San Rafael, California Lives and works in London and New York City Studies 1975-1977 Geneva, Switzerland, Ecole Supérieure d'Art Visuel 1977-1980 Boston Massachusetts College of Art, Bachelor of Fine Arts 1978 Cooper Union in New York exchange student program Awards 2016 Contemporary Vision Award, SFMOMA, San Francisco, CA 2011 The Golden Lion, Venice Biennale, Venice, Italy 2010 Aurora Award, Houston, TX 2009 The Larry Aldrich Award, The Aldrich Contemporary Art Museum, Ridgefield, CT 2003 Foundation for the Graphic Arts in Switzerland Selected One-Person Exhibitions 2021 “The Clock,” Museum of Modern and Contemporary Art and la Fondation PLAZA, Geneva, Switzerland (6/25—7/18/21) 2020 “Lids and Straws (One Minute),” The Herbert F. Johnson Museum of Art, Cornell University, Ithaca, NY (11/7—11/24/20) “To Be Continued,” Museum of Modern and Contemporary Art, Geneva, Switzerland (8/31/20—11/8/20) 2019 “Chewing Gum,” Midnight Moment, Times Square, New York, NY (10/1—10/31/19) “Christian Marclay,” Paula Cooper Gallery, New York, NY (9/12—10/19/19) “Christian Marclay: Sound Stories,” Los Angeles County Museum of Art, Los Angeles, CA (8/25—10/14/19) “Christian Marclay, The Clock,” Metro Vancouver, Vancouver, Canada (7/5—9/15/19) “May You Live in Interesting Times,” 58th Venice Biennale, Venice, Italy (5/11—11/24/19) “Christian Marclay: Compositions,” Museu d’Art Contemporani de Barcelona, (MACBA), Barcelona, Spain (4/11-9/24/19); “Investigations,” in collaboration with -
VOLUME I · Nº 2 · 2013 Editor: Gonzalo De Lucas (Universitat Pompeu Fabra)
VOLUME I · Nº 2 · 2013 Editor: Gonzalo de Lucas (Universitat Pompeu Fabra). Associate Editor: Núria Bou (Universitat Pompeu Fabra), Xavier Pérez (Universitat Pompeu Fabra). Advisory Board: Dudley Andrew (Yale University, USA), Jordi Balló (Universitat Pompeu Fabra, Spain), Raymond Bellour (Université Sorbonne-Paris III, France), Nicole Brenez (Université Paris 1-Panthéon-Sorbonne, France), Maeve Connolly (Dun Laoghaire Institut of Art, Design and Technology, Irland), Thomas Elsaesser (University of Amsterdam, Netherlands), Gino Frezza (Università de Salerno, Italy), Chris Fujiwara (Edinburgh International Film Festival, United Kingdom), Jane Gaines (Columbia University, USA), Haden Guest (Harvard University, USA), Tom Gunning (University of Chicago, USA), John MacKay (Yale University, USA), Adrian Martin (Monash University, Australia), Cezar Migliorin (Universidade Federal Fluminense, Brasil), Meaghan Morris (University of Sidney, Australia and Lignan University, Hong Kong), Gilberto Perez (Sarah Lawrence College, USA), Àngel Quintana (Universitat de Girona, Spain), Joan Ramon Resina (Stanford University, USA), Eduardo A.Russo (Universidad Nacional de La Plata, Argentina), Yuri Tsivian (University of Chicago, USA), Vicente Sánchez Biosca (Universitat de València, Spain), Jenaro Talens (Université de Genève, Switzerland and Universitat de València, Spain), Michael Witt (Roehampton University, United Kingdom). Editorial Team: Francisco Javier Benavente (Universitat Pompeu Fabra), Alejandro Montiel (Universitat de València), Raffaelle Pinto -
Introduction
INTRODUCTION Whether it was called Experimental, Avant-Garde or just Artists’ films/videos it represented a body of work that was marginal to the respective institutions of cinema and art and, partly because of that, it was both lively and exciting, if financially unrewarding, generating debate and column inches in film and art journals and the occasional foray into national cinemas and galleries.1 Felicity Sparrow (2003) This thesis sets out to demonstrate the diversity in 1970s British experimental filmmaking and act as a form of historical reclamation. The intention is to integrate films that have not received adequate recognition into the field alongside those that stand as accepted texts. In accounts of the decade structural and material film experimentation, taking place predominantly at the London Filmmakers’ Co-operative (LFMC), has tended to dominate the histories, at the expense of overshadowing more personal, expressive and representational forms of filmmaking.2 One of the reasons for the lack of adequate recognition for these forms of filmmaking is that several accounts have asserted that a return to more personal, expressionistic forms of filmmaking occurred at the end of the 1970s. This was frequently referred to as the ‘return to image’, since the these films contained more representational content in contrast to the more formal, minimal films dominating the histories. In one example, Michael O’Pray identified that ‘since 1980 video art and experimental film have developed away from the largely conceptual aesthetics towards