{"title":"‘The length of a wave’ ([2000] 2023)","authors":"Maria Walsh","doi":"10.1386/miraj_00107_1","DOIUrl":"https://doi.org/10.1386/miraj_00107_1","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776377","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores two screen-based artworks: Katja Aglert’s Winter Event – Antifreeze (2009–18) and Isaac Julien’s True North (2004) respectively, that exemplify diverse viewpoints contesting the essentialized identities of the Arctic past. These artworks recover the histories of women, the Inuit and African American men’s involvement in polar exploration, reimagining heroic narratives from historically excluded or ignored perspectives. By employing irony and humour, these artworks expand our understanding of how media-based art can respond to the ironies of a warming planet and challenge colonial nostalgia for White male heroism. The artworks traverse not just the human imperialism of the colonial era but also the newer imperialism in the age of the Anthropocene and the Capitalocene, decentring the mythic and exotic qualities of expedition narratives. Ultimately, the irreverent artwork encourages us to rethink an aesthetics of the distanced sublime from Romantic aesthetics and its roots in European Universalism, promoting a more inclusive and intersectional approach to the Arctic and its representation.
{"title":"Countering colonial nostalgia and heroic masculinity in the age of accelerated climate change: The Arctic artworks of Katja Aglert and Isaac Julien","authors":"Lisa E. Bloom","doi":"10.1386/miraj_00103_1","DOIUrl":"https://doi.org/10.1386/miraj_00103_1","url":null,"abstract":"This article explores two screen-based artworks: Katja Aglert’s Winter Event – Antifreeze (2009–18) and Isaac Julien’s True North (2004) respectively, that exemplify diverse viewpoints contesting the essentialized identities of the Arctic past. These artworks recover the histories of women, the Inuit and African American men’s involvement in polar exploration, reimagining heroic narratives from historically excluded or ignored perspectives. By employing irony and humour, these artworks expand our understanding of how media-based art can respond to the ironies of a warming planet and challenge colonial nostalgia for White male heroism. The artworks traverse not just the human imperialism of the colonial era but also the newer imperialism in the age of the Anthropocene and the Capitalocene, decentring the mythic and exotic qualities of expedition narratives. Ultimately, the irreverent artwork encourages us to rethink an aesthetics of the distanced sublime from Romantic aesthetics and its roots in European Universalism, promoting a more inclusive and intersectional approach to the Arctic and its representation.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Preview this article: ‘Not shying away from contradictions, emotional impurity and nuanced debate is where contemporary art is best positioned to be artivism’: Interview with Pam Skelton, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/miraj/12/1/miraj.12.1.65_Skelton-1.gif
{"title":"‘Not shying away from contradictions, emotional impurity and nuanced debate is where contemporary art is best positioned to be artivism’: Interview with Pam Skelton","authors":"Pam Skelton, Iliyana Nedkova","doi":"10.1386/miraj_00106_1","DOIUrl":"https://doi.org/10.1386/miraj_00106_1","url":null,"abstract":"Preview this article: ‘Not shying away from contradictions, emotional impurity and nuanced debate is where contemporary art is best positioned to be artivism’: Interview with Pam Skelton, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/miraj/12/1/miraj.12.1.65_Skelton-1.gif","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776387","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Landscape and the Moving Image , Catherine Elwes (2022) Reviewed by Edwina fitzPatrick, University of the Arts London Bristol and Chicago, IL: Intellect, 261 pp., ISBN 978-1-78938-568-7, p/bk, £28
{"title":"Landscape and the Moving Image, Catherine Elwes (2022)","authors":"Edwina fitzPatrick","doi":"10.1386/miraj_00113_5","DOIUrl":"https://doi.org/10.1386/miraj_00113_5","url":null,"abstract":"Review of: Landscape and the Moving Image , Catherine Elwes (2022) Reviewed by Edwina fitzPatrick, University of the Arts London Bristol and Chicago, IL: Intellect, 261 pp., ISBN 978-1-78938-568-7, p/bk, £28","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776380","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Patriarchs , Nira Pereg, curated by James Clegg and Show Me the World Mister , Ayo Akingbade, curated by Carmen Juliá and Olivia Aherne Reviewed by Laura Harris, University of Southampton Talbot Rice Gallery, Edinburgh, 29 October 2022-18 February 2023 Chisenhale Gallery, London, 10 November 2022-5 February 2023
回顾:Patriarchs, Nira Pereg，由James Clegg策划，Show Me the World Mister, Ayo Akingbade，由Carmen juli和Olivia Aherne策划，Laura Harris评论，南安普顿大学塔尔博特赖斯画廊，爱丁堡，2022年10月29日- 2023年2月18日，伦敦，Chisenhale画廊，2022年11月10日- 2023年2月5日
{"title":"Patriarchs, Nira Pereg, curated by James Clegg and Show Me the World Mister, Ayo Akingbade, curated by Carmen Juliá and Olivia Aherne","authors":"Laura Harris","doi":"10.1386/miraj_00110_5","DOIUrl":"https://doi.org/10.1386/miraj_00110_5","url":null,"abstract":"Review of: Patriarchs , Nira Pereg, curated by James Clegg and Show Me the World Mister , Ayo Akingbade, curated by Carmen Juliá and Olivia Aherne Reviewed by Laura Harris, University of Southampton Talbot Rice Gallery, Edinburgh, 29 October 2022-18 February 2023 Chisenhale Gallery, London, 10 November 2022-5 February 2023","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776381","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Preview this article: Fly me to the moon…extra-terrestrial projections in artists’ film and video1, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/miraj/12/1/miraj.12.1.111_Elwes-1.gif
{"title":"Fly me to the moon…extra-terrestrial projections in artists’ film and video1","authors":"Catherine Elwes","doi":"10.1386/miraj_00109_1","DOIUrl":"https://doi.org/10.1386/miraj_00109_1","url":null,"abstract":"Preview this article: Fly me to the moon…extra-terrestrial projections in artists’ film and video1, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/miraj/12/1/miraj.12.1.111_Elwes-1.gif","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776383","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Preview this article: Becoming Margaret Raspé, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/miraj/12/1/miraj.12.1.97_Throp-1.gif
{"title":"Becoming Margaret Raspé","authors":"Mo Throp","doi":"10.1386/miraj_00108_1","DOIUrl":"https://doi.org/10.1386/miraj_00108_1","url":null,"abstract":"Preview this article: Becoming Margaret Raspé, Page 1 of 1 < Previous page | Next page > /docserver/preview/fulltext/miraj/12/1/miraj.12.1.97_Throp-1.gif","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776386","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Review of: Defiant Muses: Delphine Seyrig and the Feminist Video Collectives of 1970s and 1980s France , curated by Nataša Petrešin-Bachelez and Giovanna Zapperi Kunsthalle Wien, Vienna, Austria, 7 April–4 September 2022
{"title":"Defiant Muses: Delphine Seyrig and the Feminist Video Collectives of 1970s and 1980s France, curated by Nataša Petrešin-Bachelez and Giovanna Zapperi","authors":"Denise Ackerl","doi":"10.1386/miraj_00112_5","DOIUrl":"https://doi.org/10.1386/miraj_00112_5","url":null,"abstract":"Review of: Defiant Muses: Delphine Seyrig and the Feminist Video Collectives of 1970s and 1980s France , curated by Nataša Petrešin-Bachelez and Giovanna Zapperi Kunsthalle Wien, Vienna, Austria, 7 April–4 September 2022","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776385","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article explores the 2009 observational-ethnographic documentary film Sweetgrass by Lucien Castaing-Taylor and Ilisa Barbash. Focusing on visual cues within the observational form (a film that documents the herding of sheep across the Absaroka-Beartooth Mountains for the last time), the article draws on ethnographic and autoethnographic strains to explore the relationship between the embodied spectator and on-screen animal. Sweetgrass , in addition to several moving image works, is explored as sensory ethnography that incorporates a form of spectator address based on the idea of symbiosis. The article situates ‘the nonhuman stare’ as fundamental to this, drawing on the film phenomenology of Vivian Sobchak to consolidate this view. Sweetgrass , the article maintains, aestheticizes the non-human for specific reasons. It adds an ethical purpose to the observational documentation of herding sheep across the mountains – a salvage operation of type – and a sensory experience of ‘living with’ associated with the farming culture represented on-screen. In addition to exploring the film as a sensory object in this way, the article devises a methodology bringing autoethnographic research concerning symbiotic human–non-human animal relationships, in line with explorations of the embodied film spectator.
{"title":"Film symbiosis: Embodied spectatorship and sensory (auto)ethnography in Lucien Castaing-Taylor and Ilisa Barbash’s Sweetgrass","authors":"Dara Waldron","doi":"10.1386/miraj_00105_1","DOIUrl":"https://doi.org/10.1386/miraj_00105_1","url":null,"abstract":"This article explores the 2009 observational-ethnographic documentary film Sweetgrass by Lucien Castaing-Taylor and Ilisa Barbash. Focusing on visual cues within the observational form (a film that documents the herding of sheep across the Absaroka-Beartooth Mountains for the last time), the article draws on ethnographic and autoethnographic strains to explore the relationship between the embodied spectator and on-screen animal. Sweetgrass , in addition to several moving image works, is explored as sensory ethnography that incorporates a form of spectator address based on the idea of symbiosis. The article situates ‘the nonhuman stare’ as fundamental to this, drawing on the film phenomenology of Vivian Sobchak to consolidate this view. Sweetgrass , the article maintains, aestheticizes the non-human for specific reasons. It adds an ethical purpose to the observational documentation of herding sheep across the mountains – a salvage operation of type – and a sensory experience of ‘living with’ associated with the farming culture represented on-screen. In addition to exploring the film as a sensory object in this way, the article devises a methodology bringing autoethnographic research concerning symbiotic human–non-human animal relationships, in line with explorations of the embodied film spectator.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
This article analyses artist Sammy Baloji’s video installation Pungulume (2016) with a focus on its recycling of film clips extracted from an archival colonial film from 1912. Inspired by art historian Georges Didi-Huberman’s anachronic approach to art history, and through a sketch of the history and present-day social and political context in the Congolese Katanga region, this essay contends that these archival clips speak primarily about the present and contain a topical significance. As the author demonstrates, this topical significance can solely be assessed when the viewer is knowledgeable about current political and social debates taking place in the former Katanga province. Additionally, this present-day relevance of the archival film clips also exists in terms of the video installation’s reception – the archival film clips reflect dynamics occurring in the spaces in which the video installation was conceived and continues to be exhibited. Through this reading that ultimately causes the ‘re-presentation’ of the anachronic archival film clips (while acknowledging its indebtment to Congolese popular painting), the author recalls the necessity of considering the historical production context in scholarly analyses of artworks – even when artworks reuse archival documents that stem, for example, from colonial cinema.
{"title":"The allegorical re-presentation of colonial cinema in Sammy Baloji’s Pungulume (2016)","authors":"Sanne Fleur Sinnige","doi":"10.1386/miraj_00104_1","DOIUrl":"https://doi.org/10.1386/miraj_00104_1","url":null,"abstract":"This article analyses artist Sammy Baloji’s video installation Pungulume (2016) with a focus on its recycling of film clips extracted from an archival colonial film from 1912. Inspired by art historian Georges Didi-Huberman’s anachronic approach to art history, and through a sketch of the history and present-day social and political context in the Congolese Katanga region, this essay contends that these archival clips speak primarily about the present and contain a topical significance. As the author demonstrates, this topical significance can solely be assessed when the viewer is knowledgeable about current political and social debates taking place in the former Katanga province. Additionally, this present-day relevance of the archival film clips also exists in terms of the video installation’s reception – the archival film clips reflect dynamics occurring in the spaces in which the video installation was conceived and continues to be exhibited. Through this reading that ultimately causes the ‘re-presentation’ of the anachronic archival film clips (while acknowledging its indebtment to Congolese popular painting), the author recalls the necessity of considering the historical production context in scholarly analyses of artworks – even when artworks reuse archival documents that stem, for example, from colonial cinema.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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