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British Film and Video

2017/12/1~2017/12/21


 

Curator's Talk /

        Herb Shellenberger_ Programmer of Berwick Film & Media Arts Festival

        2017_12_8_Friday_2:00pm_Total Museum of Contemporary Art


Artists/

       Phillip Warnell

       Rachel Maclean

       Adam Louis Jacob

 

 

Curators/

       IAN_ Director of Eyeball, Media Arts Webzine

       Andrea Lissoni _Curator of Tate Modern

       Emily Butler_ Cutator of Whitechapel Gallery

       Herb Shellenberger_ Programmer of Berwick Film & Media Arts Festival

 

 

Sponsored by  Arts Council Korea, Whitechapel Gallery, Space55

Organized by  Eyeball 

 

Venue   Space55 (9-3, Jeungsan-ro 19-gil, Eunpyeong-gu, Seoul)

Open   11:00am~06:00pm

Contact/ Tel. +82.(0)10.6304.4565   010-7557-4375

            2007eyeball@gmail.com

            www.studio55.co.kr


 

 


 

British Film and Video

 

   

      After the birth of cinema in 1895, the moving image became an object of allure for artists. As with the emergence of photography, it began to both threaten art and to develop an affinity for it. It built a rich history through the 1920s and 1930s and on into the emergence of video art in the 1960s, the Pop and conceptual art era, and later the 2000s. The new medium was actively welcomed by some of the most progressive figures in contemporary art artists like Man Ray, Marcel Duchamp, and Andy Warhol. In the U.S. and Europe, theorists like Erwin Panofsky (18921968) and Walter Benjamin (18921940) began discussing cinema as a new contemporary technological medium. An art historian, Panofsky contributed notably to the 1935 establishment of a new film and media department at the Museum of Modern Art in New York a first for an art museum.

 

The planning for this exhibition can be said to have started with an exploration of the long journey of media technology in art and film history. Today, we encounter numerous “moving images” outside of galleries and theaters. Artists make films, while film directors’ work is screened in galleries. As representative artists for the 2015 Venice Biennale’s Korea Pavilion, Moon Kyungwon and Jeon Joonho showed video work created under a commercial film production system, with a film company president serving as producer. Artist Heung-Soon Im won a Silver Lion at the Venice Biennale for his film work. His honors became the talk of film festivals in Korea and overseas, leading to screenings of his work. How should we define this kind of work by contemporary artists? Is it Art or Film?

 

The terms that appear in media-related moving image exhibitions in Korea and elsewhere tend to stay fairly close to titles and categories such as “artist film and video,” “artists’ moving images,” “film and video art,” “extended cinema,” “single-channel video,” “video art,” “experimental film,” and “media façade.” The situation for the British artists in this exhibition are a continuation of this.

 

The British Film and Video exhibition will hopefully be a setting for sharing present-day examples from the UK where exhibitions on the moving image have been an active area since the 1990s and for presenting global research from the annual Artist Film and Video in Korea program. With Artist Film and Video in Korea, global institutions, curators, artists, and film festivals will be working together on a regular basis to hold exhibitions and carry out a “contemporary art discourse discussion and research project” on the theme of artist films and videos. Eyeball, a media art webzine founded in 2007 (www.eyeball.or.kr), will be serving as an international network platform archiving and sharing these works.

 

The curators presented in this exhibition are all active in the artist film and video field, while the artists are involved in a wide range of work in cinemas and galleries. British Film and Video adopts a framework in which three curators from representative British institutions each recommend one artist. Tate Modern, considered one of the world’s top three art museums, spotlighted the relationship between film and art through the research and efforts of film department curator Stuart Comer, who has since relocated to MoMA in New York. His successor Andrea Lissoni’s recommendation is Phillip Warnell, a Kingston University professor and current Harvard fellowship participant who has worked with the French philosopher Jean-Luc Nancy. Screened at the Tate, his work has won honors at film festivals around the world; this exhibition will feature Ming of Harlem (2013) and his most recent work, The Flying Proletarian (2017). Ming documents a bizarre incident that took place in a New York apartment, when Antoine Yates had to be taken to the emergency room after being bitten by a tiger that he was keeping illegally (along with an alligator) as a pet.

Britain’s Whitechapel Gallery boasts a century-long history of collecting and exhibiting various works of film, video, and animations. For the past decade or so, it has been pursuing collaborative projects with institutions around the world through a global network called Artists’ Film International. Emily Butler, the curator in charge of this project, presents Rachel Maclean’s work Germs (2013). Maclean’s work can be likened to the photography of Cindy Sherman, with the artist herself appearing as an actor and dressing as different characters. Maclean, who could be called the “digital Cindy Sherman” for an era of digital technology, combines commercial advertising with art to produce bizarre and unfamiliar images.

 

Finally, Herb Shellenberger, a programmer for the Berwick Film & Media Arts Festival in northern England, recommended Adam Lewis Jacob’s Wildcat (2017), which documents the work of anarchist cartoonist Donald Rooum with a mixture of animation and live action. Through the use of art and society, boundaries, involvement, satire, unfamiliar, grotesquerie, and ambiguity, these 4 works pose questions about the nature of humankind, power, and real-world media and the aesthetic and social practice of moving images.

 

IAN

 

 

 

 

Posted by EYEBALL_Media Arts Webzine


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