Exhibiting cinema in contemporary art.

Balsom, E. (2013). Exhibiting cinema in contemporary art. Amsterdam University Press.Chapter One - Architectures of Exhibition

site Today, as Francesco Casetti says, the question today is not just Bazin's "What is cinema?" But it's also "Where's the cinema? "Cinemas have migrated to many new exhibition venues, transforming these venues through their presence and by their turn. The discussion of analog/digital conversion is very important, but it must also take into account the fact that film exists in a wider space, and that advanced projection technology and the digital technology of images (AR and VR) have transformed the old medium of film into a new one. If you ask "Where is the cinema?" Answer: "Soon, everywhere!" " Michaud once said: "Today cinema goes beyond the habit of presenting images in the screening room, and that is the legacy of theatre: from now on it is a way of conceiving and presenting images." In the field of contemporary art, a space is opened up to make use of a moving image practice that will reflect on the historical institution of cinema, interrogate it as it is, and possibly open the way to the future. Although cinema is still a very important thing to many people, and the US box office has long exceeded hundreds of millions of dollars in revenue, this series of artistic and curatorial practices has made the gallery space a tomb, a tomb for housing and preserving some dying films. This can happen in at least two places. The main ways are: first, the gallery can be used as an exhibition place for the historical products of the cinema, as shown in the Hitchcock Art Exhibition; Second, it could provide a venue for the exhibition of the new cinema to "cleanse" or "purify" its association with vulgarity Not only to preserve or commemorate an endangered cinema, but also to engage audiences in the pursuit of a sense of accessibility and entertainment. If a cinema is a place of strict discipline and immobilizes the audience, then an art museum invokes the art of government control to manage the audience. Black box/White box The cinema is a mass cultural space of raucous entertainment and secret pornography. The anonymity of the relational nature, the darkness, the huge screen, the imperceptible flickering rhythm from the projector - all these elements help to enhance the power of the film itself and consolidate the audience's attentive charm and concentration. The agreement for gallery space is very different. Light levels are higher and visitors can walk around and talk to their companions. This kind of activity has a sense of cultural respectability and often lacks the absorption capacity of film. Art museum space can not only be regarded as a container, but also as a meta-medium to be studied. It is a means of enabling those who appreciate art to see and understand it. It not only spreads individual works of art, but also activates the relationship between works, endows works with cultural value, transmits institutional discourse, and produces a kind of viewing subjectivity. One often finds a comparison between the "passive" audience of a movie theater and the "active" audience of an art gallery. The assumption here is that the cinema constitutes a space for ideological regression, while the gallery is a visionary domain that is not subject to such delusions. The cinema audience is a kind of scarecrow, which plays a decisive role in the intrinsic critical value of the gallery audience boat. The cinema is a space of disciplinary confinement, the gallery is a space of freedom. Individual narratives are pieced together into a mutable portrait, maintaining the tension between the components that come together during the formation process. The collective. The museum allows each visitor to construct their own trajectory at their own pace. The fluidity of the audience here allows for new timeliness and new forms of storytelling that are not possible in traditional cinematic Spaces. Discipline has been replaced by a system of control based on the principles of flow and circulation, which relies on restrictions, just as contemporary systems of power do. We have moved from a centralized form of power to a highly flexible and decentralized form of power that is linked to data flows and does away with internal backroom maneuvers. Projection and electronic screen Electronic screens tend to be viewed by one person or at most a few people. Its history is one of consumption of a private image, usually in a domestic setting, which it retains even when exhibited in public. It has a stubborn materiality and is a very different piece of furniture from the surrounding buildings. In contrast, a projected image is a very simple public image. The word "projection" comes from the Latin proiecitio, "projection," which evokes the way an image moves from its source, through the viewer, and beyond. The projected image evades attempts at possession. It can be projected on a large scale, which has historically been the domain of cinema. The image has the ability to blend seamlessly with the building as it supports, dissolving the internal volume and opening up into an illusory world. Crucially, it allows video images to take up space in the gallery. Unlike the suturing techniques of classic Hollywood, certain moving image installations prefer immersive visuals that overwhelm the viewer with massive projections of high sensory intensity - an argument that can also be made with contemporary post-classical blockbusters. Artists such as Matthew Barney, Pipilotti Rist, and Bill Viola used extravagant visuals to exploit the extreme aesthetics of visual oversaturation and exaggeration, Disturbingly reflective of the false production of emotions and feelings by the commodities of advanced capitalism Chapter 2 -Filmilc Ruins The scalar intensity of the projected image changes the white cube forever, just as miniature screens proliferated all over pockets and purses. Similarly, the walls of the white cube have transformed our understanding of the projected image, an entity that has long been a source of fascination and superstition at the same time Consider all art as part of a whole and analyze each work in terms of a mix of different art forms, especially in terms of media, or artists choosing to be limited to one mechanism Electronic media allows for a progressive approach to simultaneously connect different Spaces in the global network, in the eternal existence of network communication. The data is encoded into a regularized sequence of 1s and 0s, which is very different from the mysterious state of the photo, which is a "message without code." With this mapping of the present tense, it is understandable that the consistency of the film with the archive of the past and traces of accidental events will be seen as central to its particular event. For this mapping of the present tense, it is understandable that the consistency of the film with the archive of the past and traces of accidental events will be seen as central to its particular event. , According to Heidegger, "the essence of technology is not technology," which means that technology cannot be understood in terms of function, but must be understood in terms of culturally generated meaning and usage. The index is a matter of discussion, as well as a silent register of reality. It refers to the path of the index, that is, the influence of the trace now summoned by the film image. The uniqueness of cinema once lay in the illusory presence of objects on the screen, perhaps best embodied in the false stories of early gullible audiences recoiling from oncoming trains. In the films of De Rijke and De Rooij, one finds a relationship with temporality and historicity that goes against a simple concept of image consumption and information transmission. Any warranty of interpretation is null and void. The butterfly passes too quickly, while the untitled cemetery image persists, but never succumbed to the viewer's gaze. De Rijke and De Rooij describe the current state of contemporary image consumption in acerbic terms and easily assign meaning to it: "Images are used as garbage. People don't even look at them... Our task is also to protect the images we produce from being overexposed and to protect our public from their self-imposed visual bulimia." The projector is enclosed in a soundproof compartment and any potential interference is minimized. Describing the rooms as "minimal sculptures," De Rijke and De Rooij were interested in the void created by the time interval between projections, when the rooms would be white and empty. Show times are posted outside, and the audience should sit and wait for the movie to start and stay until the movie ends. As T.J. Clark once put it, "A correction to dogma is to examine yourself long enough." To propose a relationship between the duration of perception and the politics of image is to reconfigure the maligned name of contemplation. If absorption was once a quality of bourgeois aesthetics, overthrown in the name of distance, its values have also changed in the contemporary media environment.

第一章 – Architectures of Exhibition

场所

今天，正如 Francesco Casetti 所说，今天的问题不只是巴赞的“电影是什么？”但同时也是”电影院在哪里？“电影院已经迁移到许多新的展览场所，通过其存在改变这些场所，并由它们轮流改变。对模拟/数字转换的讨论非常重要，但也必须考虑到电影在更广阔的空间存在，先进的投影技术和图像的数字技术（AR和VR）将电影这个古老的媒介改造成了新的媒体。如果你问“电影院在哪里？”回答：“很快，无处不在！“

米肖曾说过：“今天，电影超越了在放映室展示图像的习惯，这是戏剧的遗产：从现在起，它是一种构思和展示图像的方式。”

在当代艺术领域，一个空间被打开，向活动影像实践提供使用，这种实践将反映电影的历史制度，询问它的现状，并可能开辟通向未来的道路。尽管电影对很多人来说仍然是十分重要的事情，而且美国的票房收入早已超过了上亿美元，这一系列艺术和策展实践使画廊的空间成为一座坟墓，容纳和保存一些垂死的电影的坟墓。这至少可以发生在两个地方。主要方式：第一，画廊可以作为电影院历史产品的展览场所，如《希区柯克艺术展》所示；第二，它可以为新电影院的展览提供一个场所，使其“净化”或“净化”其与粗俗的联系

不仅是为了保护或纪念一个濒临灭绝的电影院，而且为了吸引观众所追求一种可及性和娱乐性。

如果电影院是一个纪律严格的场所，把观众固定不动，那么美术馆则是援引政府的控制艺术来管理观众。

黑盒/白盒

电影院是一个喧闹的娱乐和秘密色情的大众文化空间。匿名的关系性，黑暗，巨大的屏幕，从放映机发出的不可察觉的闪烁节奏——所有这些元素都有助于增强电影本身的力量，巩固观众的专注魅力和专注力。画廊空间的协议截然不同。光照水平更高，游客可以随意走动，也可以和同伴交谈。这种活动具有文化上的可敬感，往往缺乏对电影的吸收能力。

美术馆空间不能仅仅被视为一个容器，而应被视为一种待研究的元媒介。它是一种使欣赏艺术的人能够看到和了解艺术的手段。它传播的不仅是个人的艺术作品，更是激活了作品之间的关系，赋予了作品文化价值，传递了制度话语，产生了一种观赏主体性。

人们经常会发现电影院的“被动”观众和画廊的“主动”观众之间的比较。这里的假设是电影院构成了一个意识形态回归的空间，而画廊是一个有远见的领域，不受这种迷惑。电影观众是一种稻草人，它对画廊观众船的内在临界价值起着决定性的作用。电影院是纪律禁闭的空间，画廊是自由的空间。 个体的叙述被拼凑成一幅可变的肖像，保持了组成部分之间的张力，这些部分在形成过程中聚集在一起。集体的。美术馆允许每个观众以自己的步调构建自己的轨迹。这里观众的流动性允许新的时间性和新的叙事形式，这在传统的电影空间是不可能的。

一个基于流动和流通原则的控制系统已经取代了纪律，它依赖于限制，就像当代的权力制度一样。我们已经从一个集中的权力形式转变为一种高度灵活和分散的权力形式，这种权力与数据流相联系，并废除了内部暗箱操作。

投影与电子屏

电子屏倾向于由一个人或最多几个人查看。它的历史是一种私人形象的消费，通常在国内环境中，即使在公共场合展出，它也保留了这种背景。它具有顽固的物质性，是一件与周围建筑截然不同的家具。相比之下，投影图像是一个非常简单的公共图像。“投射”这个词来自拉丁语proiecitio，“投射”，它唤起了图像从其来源、经过观众和超越者的方式。投影的图像逃避占有的尝试。它的投射规模可能很大，这在历史上一直是电影院的领域。图像有能力与建筑无缝融合，作为它的支持，溶解内部体积和开放到一个虚幻的世界。最关键的是，它允许视频图像在画廊中占据空间。

与经典好莱坞的缝合技术不同，某些移动影像装置更喜欢沉浸式的视觉效果，通过对高感官强度的大规模投射来压倒观众——这一论点也可以用当代后古典主义的大片来进行论证。马修·巴尼（Matthew Barney）、皮皮洛蒂·里斯特（Pipilotti Rist）和比尔·维奥拉（Bill Viola）等艺术家利用了奢侈的视觉效果对视觉过度饱和和夸大的极致主义美学，令人不安地反映了先进资本主义的商品对情感和感觉的虚假生产

第二章-Filmilc Ruins

投影图像的标量强度永远改变了白色立方体，就像微型屏幕在口袋和钱包里到处扩散一样。同样，白色立方体的墙壁也改变了我们对投影图像的理解，这一实体长期以来一直是同时令人着迷和迷信的来源

把所有的艺术作为一个整体的一部分，并根据不同的艺术形式的混合来分析每一件作品，特别是在媒体方面，或者艺术家选择仅限于一种机制

电子媒体允许一种渐进的方法来同时，连接全球网络中的不同空间，在网络通信的永恒存在中。数据被编码成一个规则化的1和0序列，这与照片的神秘状态非常不同，它是一个“没有代码的信息”。对于这种现在时态的映射，可以理解的是，电影与过去和偶然事件痕迹的存档的一致性将被视为其特殊事件的中心 。。 对于这种现在时态的映射，可以理解的是，电影与过去和偶然事件痕迹的存档的一致性将被视为其特殊事件的中心。 、

海德格尔认为，“技术的本质不是技术”，这意味着技术不能从功能上理解，而是必须从文化上产生的意义和用法来理解。指数是一个讨论的问题，同样也是一个沉默登记的真实。它是指索引的路径，即现在由电影图像召唤的痕迹的影响。电影的独特性曾经在于屏幕上物体的虚幻存在，也许最能体现在早期轻信的观众在迎面而来的火车上退缩的虚假故事中。

在《De Rijke》和《De Rooij》的电影中，人们发现了一种与时间性和历史性的关系，这种关系与一种简单的图像消费和信息传递的概念相悖。任何解释的保证都是无效的。蝴蝶过得太快了，而无标题的墓地形象却一直持续着，但从未屈服于观众的注视。De Rijke和De Rooij用尖酸刻薄的语言描述了当代图像消费的现状，并很容易地赋予其含义：“图像被当作垃圾使用。人们甚至不看他们…我们的任务也是保护我们制作的图像不被过度曝光，保护我们的公众不受他们自我强加的视觉贪食症的影响。” 投影仪被封闭在一个隔音的隔间内，任何潜在的干扰都被最小化。将这些房间描述为“最小的雕塑”，De Rijke和De Rooij对投影之间的时间间隔产生的空缺感兴趣，此时房间将是白色和空的。放映时间张贴在室外，观众应坐着等待电影开始，并一直呆到电影结束。T.J.克拉克曾提出，“一种对教条的纠正就是自我审视，追求足够长的时间。”提出感知持续时间与形象政治之间的关系，就是重新配置被诽谤的沉思之名。如果说吸收曾经是资产阶级美学的一种品质，以距离的名义被推翻，那么在当代的传媒环境中，它的价值观也发生了变化。