Review of: Xenogenesis , The Otolith Group, curated by Annie Fletcher Reviewed by Michael Holly, University of Sussex Irish Museum of Modern Art (IMMA), Dublin, Ireland, 7 July 2022-12 February 2023
回顾:Xenogenesis, The Otolith Group，由Annie Fletcher策划，Michael Holly评论，苏塞克斯大学爱尔兰现代艺术博物馆(IMMA)，都柏林，爱尔兰，2022年7月7日至2023年2月12日
{"title":"Xenogenesis, The Otolith Group, curated by Annie Fletcher","authors":"Michael Holly","doi":"10.1386/miraj_00111_5","DOIUrl":"https://doi.org/10.1386/miraj_00111_5","url":null,"abstract":"Review of: Xenogenesis , The Otolith Group, curated by Annie Fletcher Reviewed by Michael Holly, University of Sussex Irish Museum of Modern Art (IMMA), Dublin, Ireland, 7 July 2022-12 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":"135776382","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 considers Regrouping, a ‘failed’ film by Lizzie Borden, to think about the dynamics of feminist group-work in the Women’s Liberation Movement. I argue that the film, both in its subject and in the film project, explores conflict in sisterhood through its experimental collaborative approach as well as in its filmic qualities. Using literature surrounding feminist organizational practices, I explore group behaviours present in the film project through the tensions between Borden’s portrait of feminist collective practice and the group’s representation and agency within the process. I also consider the need to reinstate Regrouping, largely unknown and withdrawn from circulation, as an important feminist document that works through the complex negotiations of feminist collaboration that took place in the 1970s.
{"title":"Negotiating the feminist group: Lizzie Borden’s Regrouping (1976)","authors":"Lily Evans-Hill","doi":"10.1386/miraj_00095_1","DOIUrl":"https://doi.org/10.1386/miraj_00095_1","url":null,"abstract":"This article considers Regrouping, a ‘failed’ film by Lizzie Borden, to think about the dynamics of feminist group-work in the Women’s Liberation Movement. I argue that the film, both in its subject and in the film project, explores conflict in sisterhood through its experimental collaborative approach as well as in its filmic qualities. Using literature surrounding feminist organizational practices, I explore group behaviours present in the film project through the tensions between Borden’s portrait of feminist collective practice and the group’s representation and agency within the process. I also consider the need to reinstate Regrouping, largely unknown and withdrawn from circulation, as an important feminist document that works through the complex negotiations of feminist collaboration that took place in the 1970s.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82770742","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: Still Present! – 12th Berlin Biennale for Contemporary Art, curated by Kader Attia in collaboration with Ana Teixeira Pinto, Đỗ Tường Linh, Marie Helene Pereira, Noam Segal and Rasha Salti Akademie der Künste Hanseatenweg and Pariser Platz; Dekoloniale Memory Culture in the City; Hamburger Bahnhof Museum for Contemporary Art; KW Institute for Contemporary Art; and Stasi Headquarters, Campus for Democracy, Berlin. 11 June–18 September 2022
回顾:依然存在!-第12届柏林当代艺术双年展，由Kader Attia与Ana Teixeira Pinto、Đỗ Tường Linh、Marie Helene Pereira、Noam Segal和Rasha Salti Akademie der Hanseatenweg和Pariser Platz合作策划;城市中的Dekoloniale记忆文化;汉堡班霍夫当代艺术博物馆;KW当代艺术研究所;和斯塔西总部，民主校园，柏林，2022年6月11日至9月18日
{"title":"Still Present! – 12th Berlin Biennale for Contemporary Art, curated by Kader Attia in collaboration with Ana Teixeira Pinto, Đỗ Tường Linh, Marie Helene Pereira, Noam Segal and Rasha Salti","authors":"Maria Walsh","doi":"10.1386/miraj_00098_5","DOIUrl":"https://doi.org/10.1386/miraj_00098_5","url":null,"abstract":"Review of: Still Present! – 12th Berlin Biennale for Contemporary Art, curated by Kader Attia in collaboration with Ana Teixeira Pinto, Đỗ Tường Linh, Marie Helene Pereira, Noam Segal and Rasha Salti\u0000 Akademie der Künste Hanseatenweg and Pariser Platz; Dekoloniale Memory Culture in the City; Hamburger Bahnhof Museum for Contemporary Art; KW Institute for Contemporary Art; and Stasi Headquarters, Campus for Democracy, Berlin. 11 June–18 September 2022","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89155907","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}
Jasmina Cibic’s artistic practice across film, performance and installation rigorously interrogates the aesthetics of politics. Her works are situated within grandiose architectural settings of national pride and power, from state assemblies to cultural monuments, while drawing on the historical events and individuals that determine shared conceptions of identity. In this interview, Cibic discusses ideas of soft power in relation to several recent projects, including the 2021 film The Gift, State of Illusion from 2018, and the Nada trilogy of 2016–17. In each of these projects, artistic production is examined in terms of its relationship to propaganda, ideology and identification, the ways in which culture is utilized and whom it is intended to serve.
{"title":"Interview with Jasmina Cibic by Chris Clarke","authors":"C. Clarke, Jasmina Cibic","doi":"10.1386/miraj_00096_7","DOIUrl":"https://doi.org/10.1386/miraj_00096_7","url":null,"abstract":"Jasmina Cibic’s artistic practice across film, performance and installation rigorously interrogates the aesthetics of politics. Her works are situated within grandiose architectural settings of national pride and power, from state assemblies to cultural monuments, while drawing on the historical events and individuals that determine shared conceptions of identity. In this interview, Cibic discusses ideas of soft power in relation to several recent projects, including the 2021 film The Gift, State of Illusion from 2018, and the Nada trilogy of 2016–17. In each of these projects, artistic production is examined in terms of its relationship to propaganda, ideology and identification, the ways in which culture is utilized and whom it is intended to serve.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83788917","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: Becoming Palestine: Toward an Archival Imagination of the Future, Gil Z. Hochberg (2021) Durham, NC and London: Duke University Press, 208 pp., ISBN 978-1-47801-482-9, p/bk, $24.95
{"title":"Becoming Palestine: Toward an Archival Imagination of the Future, Gil Z. Hochberg (2021)","authors":"Kaelen Wilson-Goldie","doi":"10.1386/miraj_00100_5","DOIUrl":"https://doi.org/10.1386/miraj_00100_5","url":null,"abstract":"Review of: Becoming Palestine: Toward an Archival Imagination of the Future, Gil Z. Hochberg (2021)\u0000 Durham, NC and London: Duke University Press, 208 pp.,\u0000 ISBN 978-1-47801-482-9, p/bk, $24.95","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88593626","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}
Kitty Anderson, Graiwoot Chulphongsathorn, Emma Dove, T. Fiske, Philippa Lovatt, D. Upton
{"title":"Reflections on โลก(ไร้)รูป (Im)material worlds: Tracing creative practice, histories and environmental contexts in artists’ moving image from Southeast Asia and the United Kingdom","authors":"Kitty Anderson, Graiwoot Chulphongsathorn, Emma Dove, T. Fiske, Philippa Lovatt, D. Upton","doi":"10.1386/miraj_00097_7","DOIUrl":"https://doi.org/10.1386/miraj_00097_7","url":null,"abstract":"","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75903974","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}
In the early 1970s, Jean Otth played an active role in the constitution and development of a video art scene in French-speaking Switzerland. The art critic and museum director René Berger described these pioneers in the use of a new medium as ‘musketeers of the invisible’. Based on the notion of agency theorised by Alfred Gell, we show in this article how Otth’s work, as well as his curatorial and pedagogical activities, allowed the development of a videosphere (to take up and displace the meaning of a term proposed by Gene Youngblood in 1970). We also propose an analysis of Otth’s early videos and installations, which are traversed by a phenomenological interrogation on the mechanisms of perception and a deconstruction of representation and its conventions. Finally, we integrate Otth’s reflections on television and video from his personal archives to reveal his creative intentions.
{"title":"Jean Otth and video art networks: Exhibitions, festivals, open encounters – About the agency of a medium","authors":"F. Bovier","doi":"10.1386/miraj_00094_1","DOIUrl":"https://doi.org/10.1386/miraj_00094_1","url":null,"abstract":"In the early 1970s, Jean Otth played an active role in the constitution and development of a video art scene in French-speaking Switzerland. The art critic and museum director René Berger described these pioneers in the use of a new medium as ‘musketeers of the invisible’. Based on the notion of agency theorised by Alfred Gell, we show in this article how Otth’s work, as well as his curatorial and pedagogical activities, allowed the development of a videosphere (to take up and displace the meaning of a term proposed by Gene Youngblood in 1970). We also propose an analysis of Otth’s early videos and installations, which are traversed by a phenomenological interrogation on the mechanisms of perception and a deconstruction of representation and its conventions. Finally, we integrate Otth’s reflections on television and video from his personal archives to reveal his creative intentions.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84887016","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: The Moving Image as Public Art: Sidewalk Spectators and Modes of Enchantment, Annie Dell’Aria (2021) Cham: Palgrave Macmillan, 307 pp., ISBN 978-3-03065-906-6, h/bk, £89.99, p/bk, £59.99
{"title":"The Moving Image as Public Art: Sidewalk Spectators and Modes of Enchantment, Annie Dell’Aria (2021)","authors":"Jane Madsen","doi":"10.1386/miraj_00101_5","DOIUrl":"https://doi.org/10.1386/miraj_00101_5","url":null,"abstract":"Review of: The Moving Image as Public Art: Sidewalk Spectators and Modes of Enchantment, Annie Dell’Aria (2021)\u0000 Cham: Palgrave Macmillan, 307 pp.,\u0000 ISBN 978-3-03065-906-6, h/bk, £89.99, p/bk, £59.99","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74788902","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 will examine the significance of the alternative film scene, as seen in the Spanish militant cinema of this period, through an analysis of the film Les energies (‘The energies’) (1979–80) by the Cooperativa de Cinema Alternatiu (CCA – Alternative Cinema Cooperative) that helped to trigger the debate on the energy question in Spain in the late 1970s and early 1980s. The militant Spanish cinema of that time was produced in some exceptionally precarious conditions as well as had limited access to financial resources and remained marginal to official film industry systems. The article will discuss how these production conditions led the CCA to adopt a specific material filmmaking mode with a low ecological impact. Emerging as a consequence of a production context marked by precariousness and (semi-)clandestinity, it was a mode of production developed in parallel to the rise of environmental awareness in Spain, which had – as the first part of this article explores – a decisive influence on the CCA. In turn, as the article goes on to discuss, the environmentalist discourse would itself end up determining the narrative content of one of the CCA’s most important films, Les energies.
本文将考察替代电影场景的意义，正如在这一时期的西班牙激进电影中所看到的那样，通过对电影Les energies(“能量”)(1979-80)的分析，该片由Cooperativa de cinema Alternatiu (CCA - alternative cinema Cooperative)制作，该片在20世纪70年代末和80年代初在西班牙引发了关于能源问题的辩论。当时激进的西班牙电影是在一些异常不稳定的条件下制作的，而且获得财政资源的机会有限，在官方电影工业体系中处于边缘地位。本文将讨论这些生产条件如何导致CCA采用一种特定的低生态影响的材料电影制作模式。作为不稳定和(半)秘密的生产环境的结果，它是一种与西班牙环境意识的兴起并行发展的生产模式，正如本文的第一部分所探讨的那样，它对CCA产生了决定性的影响。反过来，正如文章继续讨论的那样，环保主义话语本身最终决定了CCA最重要的电影之一《Les energies》的叙事内容。
{"title":"Militant cinema as an energetic alternative in the 1970s in Spain","authors":"Alberto Berzosa, Jaime Vindel","doi":"10.1386/miraj_00093_1","DOIUrl":"https://doi.org/10.1386/miraj_00093_1","url":null,"abstract":"This article will examine the significance of the alternative film scene, as seen in the Spanish militant cinema of this period, through an analysis of the film Les energies (‘The energies’) (1979–80) by the Cooperativa de Cinema Alternatiu (CCA – Alternative Cinema Cooperative) that helped to trigger the debate on the energy question in Spain in the late 1970s and early 1980s. The militant Spanish cinema of that time was produced in some exceptionally precarious conditions as well as had limited access to financial resources and remained marginal to official film industry systems. The article will discuss how these production conditions led the CCA to adopt a specific material filmmaking mode with a low ecological impact. Emerging as a consequence of a production context marked by precariousness and (semi-)clandestinity, it was a mode of production developed in parallel to the rise of environmental awareness in Spain, which had – as the first part of this article explores – a decisive influence on the CCA. In turn, as the article goes on to discuss, the environmentalist discourse would itself end up determining the narrative content of one of the CCA’s most important films, Les energies.\u0000","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73860853","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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