Chantal Akerman in London

IF 0.1 3区艺术学 0 FILM, RADIO, TELEVISION CAMERA OBSCURA Pub Date : 2019-05-01 DOI:10.1215/02705346-7264196

M. Maziere

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Abstract

Chantal Akerman in London This essay tracks the development and production of a series of interconnected projects revolving around the work of Chantal Akerman between 2013 and 2016 in London involving retrospective screenings, in-person presentations, symposiums, a major exhibition, an international conference, and a publication currently in production. This Akerman project, which grew spontaneously, was initiated by A Nos Amours (curators and filmmakers Adam Roberts and Joanna Hogg), who presented an exhaustive retrospective of Akerman's film and video works over a two-year period, Ambika P3 who presented a major exhibition Chantal Akerman: NOW, the conference ‘After Chantal’ presented by the Centre for Research and Education in Arts and Media at the University of Westminster and the upcoming publication dedicated to Akerman by the Moving Image Review & Art Journal (MIRAJ). This essay aims to reveal the collaborative nature of the working processes behind this project and the organic manner in which it developed as well as the challenges it posed at a critical time in the artists’ life. In its totality the project and indeed its process, with its multiplicity of outputs and the collaborative dedication of the partners, has become a fitting testament to the strength of the work of Chantal Akerman.

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Chantal Akerman在伦敦

Chantal Akerman在伦敦本文追踪了Chantal Akerman在2013年至2016年期间在伦敦围绕其作品展开的一系列相互关联的项目的发展和制作，包括回顾性放映、现场演讲、专题讨论会、大型展览、国际会议和目前正在制作的出版物。阿克曼这个自发发展的项目是由A Nos Amours(策展人兼电影制作人亚当·罗伯茨和乔安娜·霍格)发起的，他们展示了阿克曼在两年时间里的电影和录像作品的详尽回顾，Ambika P3展示了一个大型展览Chantal Akerman:现在，由威斯敏斯特大学艺术与媒体研究与教育中心举办的“后尚塔尔”会议，以及即将出版的由《运动影像评论与艺术杂志》(MIRAJ)专门为阿克曼举办的出版物。这篇文章旨在揭示这个项目背后的工作过程的协作性质，以及它发展的有机方式，以及它在艺术家生活中的关键时刻所带来的挑战。总体而言，该项目及其过程，其产出的多样性和合作伙伴的协作奉献精神，已成为Chantal Akerman工作实力的恰当证明。

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来源期刊

CAMERA OBSCURA FILM, RADIO, TELEVISION-

CiteScore

0.30

自引率

0.00%

发文量

期刊介绍： Since its inception, Camera Obscura has devoted itself to providing innovative feminist perspectives on film, television, and visual media. It consistently combines excellence in scholarship with imaginative presentation and a willingness to lead media studies in new directions. The journal has developed a reputation for introducing emerging writers into the field. Its debates, essays, interviews, and summary pieces encompass a spectrum of media practices, including avant-garde, alternative, fringe, international, and mainstream. Camera Obscura continues to redefine its original statement of purpose. While remaining faithful to its feminist focus, the journal also explores feminist work in relation to race studies, postcolonial studies, and queer studies.