REVOLUTIONIZING THE ART OF REBELLION
1. Experiment with uppity, mischievous optimism.
2. Invoke insurrectionary levels of wildly interesting generosity.
3. Indulge in an insolent refusal to be chronically fearful.
4. Pursue a cheeky ambition to be as wide-awake as a dissident trickster messiah.
5. Bring reckless levels of creative intelligence to all expressions of love.
From Rob Brezhny – Free Will Astrology
What characteristics are some of the cinema and museums share according to Giuliana Bruno?
What does it mean that motion pictures have exited the movie house to take up residence in the museum, becoming, in different forms, a steady feature of gallery shows and museum exhibitions?
Metaphors and similes abound in this text:
Archive as a cultural fabric
Museum as connective architecture
Museum as sight of archival fabrication
“As institutions of visual knowledge, they are connected through the phenomenon of cultural motion, which affects how we perceive the surface of the world. Both are public spaces of viewing that emerged out of the modern process of mobilization that culminated in the twentieth century and transformed the relation between subjects and objects, images and things.”
“They are products of an era that activated the gaze in sequence, mobilized and narrativized (object) space, created the very impulse to exhibit, and constructed-indeed, architected-the actual experience of spectatorship.“
“Borders are crossed as this intimate form of public exhibition activates journeys of memory and projections of the imagination…
I maintain that a modern, cinematic museum sensibility engages the sense of the haptic, an experience of intimate transport, and a transfer between motion and emotion.”
“Usually confined to optical readings, the museum and the cinema need to be remapped, jointly, in the realm of haptic, surface encounters if we are to understand their tangible use of space and objects, the movement that propels these habitable sites, and the intimate experience they offer us as we traverse their public spaces.”
“the fabric of this etymology indicates that affect becomes a medium and shows the process of becoming that is materially mediated in movement.”
The passage (cinema to gallery) chat we have been observing affects the sedimentation of the visual experience, its residues and transformations. Such passage exceeds the reconfiguration that Jay David Bolter and Richard Grusin have named "remediation" because it concerns not simply the medium but also the space of image circulation, forms of siting, and the situational experience.
In a concrete sense, the new interface between the museum wall and the film screen has led filmmakers to produce installations that reformulate the very architecture of the moving image and of museum exhibition.
Remediation is a term created by Jay David Bolter and Richard Grusin that argues that new visual media achieve their cultural significance precisely by paying homage to, rivaling, and refashioning such earlier media as perspective painting, photography, film, and television. They call this process of refashioning "remediation," and they note that earlier media have also refashioned one another: photography remediated painting, film remediated stage production and photography, and television remediated film, vaudeville, and radio.
Remediation refers to the blending of old and new media, and not always unidirectionally. Old media can remediate new media as well, as an attempt to reassert themselves in a world where digital media rule. Digital technologies don’t radically change the mediascape so much as alter and add to older media, as with the Web borrowing from television, photography, film, and print. Remediation has not newly emerged along with digital technologies, but has existed for centuries.
Old media shapes new media, new media refashions old media.
’To my mind, cinema is functioning as this open archive of potentialities for today's installation artists, for, as it becomes abandoned as a medium, a moving visual history is creatively refashioned in gallery-based art. This is what motivates me to dig further into the history of exhibition
that links cinema to the museum space: in tracing a history of moving screens of public intimacy, my aim is to activate museum culture as a potential form of cinematics, that is to say, as imaging in public, intermedial motion. I want to pursue this migration of visual archives from the cinema to the gallery, for it signals a potential reinvention of the material experience of "projection."
In some way, artists are becoming historians. They are turning into ma-
terialist scholars. Every time a materialist turn takes place in history, it becomes compel-
ling to ponder the potential lessons that may be inscribed 1n the specific gesture.’
“I want to expose the surface of communication between the arts and claim chat the motion and emotion of cinema extend beyond the walls of the movie house: they have been implanted, from the times of precinema to our age of postcinema, in the performative space of the art collection and in the itinerary of the museum walk as well.
Let us turn, then, to look more closely at this interface between the museum wall and the film screen. To follow the moving activity of virtual recollection that materially connects cinema to the museum, we will embark on an extended architectural promenade and take a few museum walks. On this museological journey, we will see how moving images have become the moving archive in this twenty-first century: our own future museum.”
“With motion pictures housed on video screens spread across the museum space, the gallery viewer is offered the spectatorial pleasure of entering into a film, and of physically retraversing the language of montage. This kind of viewership signals a passage between art, architecture, and film, predicated on exhibition.”
D'Est is based on Chantal Akerman's travels through Central and Eastern Europe between 1991 and 1993, just after the fall of the Berlin Wall. It is the story of a journey to East Germany in spring, to Poland and Ukraine in summer, and on to Moscow in winter.
“As is evident in Akerman's decomposition of her film D'Est (From the East, 1993) into the form of an installation piece, film is literally dislocated in the gallery.”
In the resulting 25-part video installation, D'Est: au bord de la fiction, the documentary footage is grouped in eight triptychs according to certain formally harmonious patterns. On a concluding 25th screen, the filmmaker can be heard, talking off-screen about the project's motives.
And so, in installations such as The Weddingat Cana (2009), which audiovisually interprets a painting by Paolo Veronese, he mobilizes aesthetic forms of art reception by filmically reactivating chem, with surface effects.
And so, in installations such as The Weddingat Cana (2009), which audiovisually interprets a painting by Paolo Veronese, he mobilizes aesthetic forms of art reception by filmically reactivating chem, with surface effects.
Senga Nengudi, Warp Trance @ The Philadelphia Museum of Art (2021)
https://fabricworkshopandmuseum.org/artist/senga-nengudi/
Senga Nengudi, Warp Trance, 2007. Multi-channel audio/video installation. Sound composition by Butch Morris. Photo credit: Aaron Igler.
During her residency at FWM, Senga Nengudi became interested inPennsylvania’s, and FWM’s, rich history with textile production. She visited several local textile mills—including MTL (Material Technology & Logistics), in Jessup, Pennsylvania; Langhorne Carpet in Penndel, Pennsylvania; and Scalamandré, then located in Long Island City, New York—and was intrigued by the repetitive motion and sounds of textile manufacturing. During these visits, with the generous cooperation of the mills, Nengudi collected video footage and sound recordings as well as hundreds of Jacquard punch cards. She then invited composer Butch Morris to take the audio recordings from the textile mills and turn the ambient sounds into a composition to accompany the video projections. The resulting installation, Warp Trance, a four-channel audio and video montage of sounds and images derived from industrial weaving mills, evoked ritual and trance with its repetitive motion and audiovisual rhythms.
Warp Trace was Nengudi’s first work employing video. She had long focused primarily on discarded, everyday materials with associations reaching further than a viewer might initially assume. The Jacquard punch card panels—onto which the Warp Trance video footage is projected—fit perfectly into this category. As well as being a revolutionary step in textile production, the Jacquard loom was also the first machine that used punch cards to control a sequence of operations. Consequently, the cards are considered the initial step in the history of computing hardware as well as a key conceptual precursor to the development of computer programming.
“The three-channel film installation that sits as the centerpiece of Hito Steyerl’s exhibition of the same name, Drill (2019) draws in viewers by its sound before its imagery. The clashing, percussive tones of a persistent marching band emanate from the yawning maw of the Wade Thompson Drill Hall at the Park Avenue Armory, where “Hito Steyerl: Drill,” curated by Tom Eccles, is currently on view. As you wander in and out among the rooms of the Armory overtaken by Steyerl’s installations, this throbbing music follows, the connector that binds the disparate analyses of weighty subjects that the artist offers through her work.”
https://degreecritical.com/2019/07/12/hito-steyerl-drill-at-park-avenue-armory/
Unbroken Windows and Broken Windows
Boarded windows - a group in NJ that paints over boarded up windows in order to sort of protect the neighborhood from police surveillance and so i was kind of interested
The former documents the activities of the “artivist” Chris Toepfer, whose New Jersey–based organization, the Neighborhood Foundation, works to combat architectural degradation in underserved communities across the United States. It does this by replacing broken or boarded-up windows and doorways with joyful paintings, with the goal of fending off further vandalism and destruction. Steyerl’s video—accompanied by a soundtrack of police sirens and radio chatter—follows Toepfer and his team through Camden, New Jersey, pursuing their mission of restoring dignity to abandoned houses. The second video, Broken Windows, is set in a former airplane hangar, built during World War II, in Cambridge, England. There, a team of researchers and engineers employed by Audio Analytic, a company that develops sound-recognition technologies, take turns breaking windowpanes. Their recordings are used to train AI software to recognize the sound of breaking glass, a technology widely used in home safety devices and alarm systems.
Researchers in Cambridge breaking 1,000 windows
AI and audio recognition - breaking things to create cutting edge technical process
creative destruction as an economical model and also as an urban model
destroying parts of cities is part of technology
One destroys windows and one paints windows - the process of repair
the repairing of windows through painting
what does technology do in urban space? and what is painting in this context?
9:30
space is like a cut