Residuals and Left-Overs Must of Coursebe Mustof Residuals Andleft-Overs by Thomas Elsaesser

usd 7 08 • 2 4 6 6 eur • Project: 4 page page page page 1650 – 7894 – 1650 • Untitled page 11 page page 14 page page 12 page page 10 page of Saturn: of of a World a of of Reason: of the Second Second the The Desire Desire The Mutations .20 The Insides The Conditions pages 8–9 pages contents and Outsides and of Possibility of Wallenstein Man with the the with Man The 50 Moons Moons 50 The the Museum? the By Kim West Kim By site By Jeff Kinkle Jeff By By Sven-Olov By The Possibility Possibility The Traces of Metal of Traces By Kader Attia Kader By “Post Cinema?” Cinema?” “Post Torino Triennale Torino Mini-DV Camera Mini-DV By Janina Pedan Janina By issn Called Apocolypse Called sek Daniel Costanzo Daniel Movies, Museums, Museums, Movies, Lévi-Strauss at 100 at Lévi-Strauss By Alexandre and Alexandre By Thresholds, Limits, Thresholds, Ingmar Bergman in Bergman Ingmar By Sinziana Ravini Sinziana By By Thomas Elsaesser Thomas By By Volker Pantenburg Volker By 40 24 � Claude Lévi-Strauss, Brazil 1935. Copyright ARTE Residuals publisher & editor: Sven-Olov Wallenstein Residual spaces always seem to be invested lapidated areas of Fontainhas outside of Lisbon who charts the various possibilities still lodged editorial board: Brian Manning Delaney, with a romantic and disruptive energy: as are invested with a pride and dignity of their in this age-old concept. Power Ekroth, Jeff Kinkle, Trond Lundemo, flipsides of modernity, crevices opened up in the own, whereas the essay of Daniel and Alexandre Claude Lévi-Strauss, who celebrated his 100th Staffan Lundgren, Helena Mattsson, Meike apparently seemless narrative of technological Costanzo investigates a work by Danielle Huillet birthday on November 28, is the topic of Sven- Schalk, Susan Schuppli, Kim West progress, they radiate a virtual power of think- and Jean-Marie Straub, Othon, where the overlay Olov Wallenstein’s essay. From his early melan- advisory board: Jennifer Allen, Erik van der ing differently, of a temporal fabric brushed of different temporalities—the classical diction choly reflections on the disappearance of cultural Heeg, Carl Fredrik Hårleman, Carsten Höller, against the grain. From Walter Benjamin’s of Corneille’s text, the antique setting of Rome, differences to his structural analyses of myth and Fredrika Spindler angelic inversion of time in the “Theses on the and the present moment—produce the pos- kinship, he has done more than anyone else in graphic design: Konst & Teknik Philosophy of History” to Robert Smithson’s sibility of a “breach,” that invests the past with this century to erase the difference between the typefaces: Lexicon No. 1, Site Specific descent into the time of geology and entropy, a capacity to shatter the present and open up “savage” and the “modern” mind, and to prove printing: Alfa Print, Solna the passion of contestation seems to have been another future. that the residual and the emergent are looped on the side of the residual. Art institutions have Kadier Attia’s project deals with reappropria- in a historical becoming without beginning and site by no means refrained from exploiting and tion of architecture as an endless process, and end, that the logos of mythos and the mythos of Kungstensgatan 26 even instrumentalizing this condition, and the of how the language of modernist architecture logos will always remain intertwined, and that se-113 57 Stockholm ubiquity of the second machine age industrial was inflected in the Algerian context, and then the power of reason always resides in an opening Sweden space turned exhibition space, with its strategic brought into the French banlieues. These proj- to its outside—which thereby becomes an inside commodification of memory as spectacle, is a ects create a certain loop in time, and, the artist more profound than the simple interiority of www.sitemagazine.net sure sign of this. (The cycle seems to have become writes, “seem to have become the laboratories of any cogito. [email protected] even shorter today: industrial ruins need not be post-colonization.” The idea of the residual has finally been more than a decade old to begin to shimmer with Janina Pedan directly addresses the recent integrated into the fabric of site itself. This subscription (four issues): retroactive authenticity.) Manifesta exhibition, which has been the source issue has been printed on recycled paper, which Sweden – 150 sek Residuals and left-overs must of course be of inspiration for this issue, and discusses the means that each copy is slightly different, based Europe – 30 eur understood as more than spatial conditions: re-use of an old aluminum plant by Raqs Media on a process of random selection decided by Overseas – 40 usd printed matter, footage, images, “information” Collective, and, drawing on the theories of the printer, thus affecting the very support of in all possible senses, enter into our archives, Gilbert Simondon, the way in which the history graphic and textual information.• submissions: Text proposals to be sent consigned to forms of storage that necessarily of metal can play a part in artistic creation. to [email protected] alter their significance. The essays of Thomas Jeff Kinkle discusses another exhibition, After Elsaesser, on Ingmar Bergman, and Volker Nature, and asks whether our seeming impossi- All rights reserved. No part of this pub- Pantenburg, on a series of recent exhibitions bility to imagine a radically different future oth- lication may be used or reproduced in on “post-cinema,” both address such a shift erwise than through the lense of the apocalypse any manner without permisson. in media infrastructure, where the death of simply produces melancholy and acceptance, or cinema might lead to a different afterlife. Kim whether it can refocus our perspective on history. site is supported by The Swedish West discusses the political dimension of Pedro Similarly, melancholy is the topic of the recent National Council for Cultural Affairs. Costa’s In Vanda’s Room, where the seemingly di- Torino Biennale, reviewed by Sinziana Ravini, the editors site • 24.2008 Ingmar Bergman in the Museum? Thresholds, Limits, Conditions of Possibility Thomas Elsaesser “Cinema is part of contemporary life; there is no “public memory, privatized” and as “designs for an assertion may seem paradoxical, since from Found Object: Ingmar Bergman, barrier between them. But this dialogue between living”, they advertise if not always the moral Duchamp’s urinal, Warhol’s soup cans and Carl the Great Artist visual forms of representation, this new relation- life, then the good life, for everyone: cinema André’s bricks, to Damien Hirst’s shark, Tracy Feature films, I argued, no less than found foot- ship between the cinema and the museum, this the democratic art. Let the afterlife of films and Emin’s unmade bed and Chris Ofili’s elephant age enter the museum as ready-mades, carrying is a problem for me.” filmmakers, if it cannot be the big screen, be tele- dung, it seems that nothing is being excluded with them the cultural use-values or junk-status Victor Erice vision, the Internet, every medium and on any from the museum. But this would be to overlook of cinema. Once we decided that Bergman should platform, including the ever more readily avail- the extent to which the fine arts in the 20th centu- not (yet) be given the Hitchcock-Pompidou treat- “The cinema is dead—long live the cinema able DVDs, with their bonuses, extras and other ry, and the institutions that serve them, have been ment, there still remained the fact that he was (in the museum)” enticements to consumption! Cynics (or realists) relentlessly meta-discursive and self-referential. and is a “great artist”. So in what sense can the For several decades now, the cinema’s demise has will conclude that the mineralization of the Faced with the anti-art onslaught of successive great artist be a ready-made? Major tributes to been presented as a fact: at first, television took cinema suits both parties. It adds cultural capital avant-gardes, the modern museum has rein- Bergman’s fame are the parodies his films have away the family audience, then the video recorder to the cinematic heritage and redeems its lowly vented itself, by marking—in a myriad of subtle inspired, especially The Seventh Seal (by Woody killed off the neighborhood cinemas, and now origins in popular entertainment, but it also ways—its spaces as deceptively open and fiercely Allen, French & Saunders), Wild Strawberries digitization has broken the indexicality of the adds new audiences to the museum, where the bounded, which is to say, as both liminal and ter- (“The Düve/The Dove”), but also Persona and The photographic image, undermining its “docu- video monitor and the moving image—market- ritorial: to be crossed and entered only by guarded Silence. Bergman was hyper-conscious of the dan- mentary” value by replacing the optico-chemical research proves it—retain the visitors’ attention acts of negotiation and agreed terms of mutual ger of falling into self-parody, and chided both link to physical reality with numerical code. News several seconds longer than the framed painting interference. This liminality and what it implies is Bunuel and Welles for succumbing to the vice. At of the cinema’s death is thus no longer new, and or the free-standing, static sculpture. And it a valuable gift the museum can make the cinema, the same time, his films are replete with artists: some will say that it is greatly exaggerated: the puts the intellectual and financial resources of in the sense that it forces it to double itself, and in would-be artists and con-artists, tormented art- hegemonic might of Hollywood movies reigns a century-old institution (usually supported by the process, also divest, divide or subtract itself.

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