Published as part of a research project conducted by ECAL/University of Art and Design Lausanne, directed by François Bovier & Adeena Mey, and funded by HES-SO/University of Applied Sciences Western Switzerland.
Since the 1990s, a “cinematographic turn” has supposedly taken place in contemporary art paralleled by the emergence of a “cinema of exhibition” during the same period. This collection of new essays investigates the relationships between the “white cube” and the “black box,” focusing mainly on the 1970s, a decade in which film practices and moving images were integrated into museums and art spaces. In order to define what constitutes a “film exhibition,” the authors in this volume analyze multiple modalities of presenting the moving image through historical case studies: the anatomy of video art, expanded cinema, artists' films and installations, and the moving image in the public sphere. Going back from the 1930s to the present, these contributions address commercial spectacular or advertising forms of moving images, artists' performative practices, installations in large museums, exhibitions devoted to projections, festivals of experimental films, and the likes. The challenge of this volume is to articulate historical case studies alongside wider questions that shape contemporary forms of artists' film and the moving image with their exhibition contexts.
Edited by François Bovier and Adeena Mey
Texts by Erika Balsom, François Bovier, Giuliana Bruno, Maeve Connolly, Greg de Cuir, Jr., Kate Mondloch, Julie Reiss, Maxa Zoller.
Published with JRP|Ringier
published in February 2016
15 x 21 cm (softcover)
160 pages (8 b/w ill.)
ISBN: 978-2-84066-822-0 / 978-3-03764-388-4
Reproduction ECAL/Younès Klouche