Re:Placing the Cinematic
One-day conference and performance event
October 31, 2013 from 9:00 am to 17:00 pm
Atelier Nord ANX, Olaf Ryes pl. 2, 0552 Oslo
The one-day conference Re:Placing the Cinematic takes as its focus the current expansion and migration of cinema to spaces and places old and new. No longer bound to celluloid, film projector and the single-screen of the auditorium, cinema of today is to be found on digital devices, architectural structures, crossing screens and geographical sites, dispersed in networks and bits and pixels. Rephrasing André Bazin’s seminal question «What is Cinema?», film theorists have thus recently asked, «Where is Cinema?».
Of concern in this conference is however not predominantly the massive presence of moving image installations in the art gallery or on its new technical platforms as such. Rather, it is the novel possibilities for exploration of physical and virtual space as well as geographical place that this scenario opens up for. As demonstrated in recent art practices, cinematic constructions of space and place is currently reconfigured through practices such as live cinema, live video, «mapping» techniques, site-specificity, employment of 3D-effects, and the physical engagement with screen space through the touch gestures invited by the iPad. What kinds of spaces and places emerge through these practices? And how do they relate to the abounding spatial metaphors presently employed to theoretically frame the overall expansion of cinema (“relocated cinema”, “geography of cinema” etc.)?
Bringing together scholars from the fields of art history, film history and media studies, Re:Placing the Cinematic aims to contribute to historically, theoretically and conceptually place such recent tendencies within the larger trajectory of expanded cinema, «paracinema» and multimedia works from the 1960s and 1970s, as well as earlier avant-garde and related practices.
The conference is organized as part of the artistic research project “Re:place,” funded by the Norwegian National Artistic Research program, in collaboration with Atelier Nord, Academy of Fine Art, Oslo National Academy of the Arts, and IFIKK Dept. of Philosophy, Classics, History of Art and Ideas, University of Oslo.
Arie Altena (Sonic Acts Festival, V2_, Vertical Cinema), Ina Blom (University of Oslo), Noam Elcott (Columbia University), Tom Gunning (University of Chicago), Susanne Ø. Sæther (University of Oslo).
Evening program from 20:00 – 23:30 include performances by Greg Pope & Jon Wesseltoft (UK/NO) and Otolab (IT).
The registration for the conference is now closed. If you wish to register to a waiting list, please send mail to: firstname.lastname@example.org
The conference will take place at Atelier Nord’s exhibition space Atelier Nord ANX, Olaf Ryes plass 2, 0552 Oslo (entrance from Sofienberggt.)
Arie Altena is part of the curatorial team that organizes the Sonic Acts festival (Amsterdam) and the Kontraste festival (Krems), and editor at V2_ Institute for the Unstable Media (Rotterdam). He studied literary theory and regularly writes about the intersections of art and technology. He edited several books for Sonic Acts, most recently The Dark Universe (2013), Travelling Time (2012), and The Poetics of Space (2010).
Ina Blom is a professor at the Institute of Philosophy, Classics, History of Art and Ideas at the University of Oslo. She has published widely in the fields of modernism/avant-garde studies and contemporary art, with a particular focus on media aesthetics and the relationship between art and technology. She is currently head of The Archive in Motion – an interdisciplinary research project studying changes in social memory under the impact of new media technologies. Her most recent book is On the Style Site. Art, Sociality and Media Culture. New York: Sternberg Press, 2007 (2009).
Noam M. Elcott is Assistant Professor of Art History and Archaeology at Columbia University and an editor of the journal Grey Room. He specializes in the history and theory of modern art and media, with an emphasis on interwar art, photography, and film. He also teaches and writes on contemporary art. Elcott is currently at work on a book-length study provisionally titled Artificial Darkness: A Modern Art and Media History. This book is the first to conceive, historicize, and theorize artificial darkness from its tentative introduction in the mid-nineteenth century, through its consolidation in a range of late nineteenth century media technologies, and, finally, to the aesthetic challenges leveled against it by the interbellum avant-garde. Recent essays have appeared in October, Grey Room, Aperture, and many catalogues and anthologies. He has lectured widely, including recent engagements at Tate Modern (London), UC Berkeley (California), Cambridge University (England), McGill University (Montreal), Eikones (Basel), Bauhaus Universität (Weimar), ZKM (Karlsruhe), NYU (New York), and CUNY Graduate Center (New York).
Greg Pope. After dabbling in punk rock bands and absurdist performance,
Greg Pope founded Brighton-based Super 8 film collective Situation Cinema
in 1986 and afterwards Loophole Cinema (London, 1989). Using 16mm, Super 8 and video, Loophole Cinema were self-styled shadow engineers performing numerous events around Europe. They produced The International Symposium of Shadows in London in 1996. Working collaboratively and individually, Pope has made video installations, live art pieces and single screen film works since 1996. Recent works include live cinema performance pieces Light Trap and Cipher Screen as well as 35mm film productions Shadow Trap and Shot Film. He currently lives in Norway and is active teaching, projecting, programming and making film.
Tom Gunning is the Edwin A. and Betty L. Bergman Distinguished Service Professor in the Department on Cinema and Media at the University of Chicago. He is the author of D.W. Griffith and the Origins of American Narrative Film (University of Illinois Press) and The Films of Fritz Lang; Allegories of Vision and Modernity (British Film Institute), as well as over hundred articles on early cinema, film history and theory, avant-garde film, film genre, and cinema and modernism. With Andre Gaudreault he originated the influential theory of the “Cinema of Attractions.” In 2009, he was awarded an Andrew A. Mellon Distinguished Achievement Award, the first film scholar to receive one and in 2010 was elected to the American Academy of Arts and Sciences. He is currently working on a book on the invention of the moving image.
Otolab (IT) is an Italian group of musicians, video artists, designers and architects with a shared interest in electronic music and audiovisual research. Their productions always aim at a symbiosis of image and sound. Bleeding is performed by Fabio Volpi and Luigi Massimiliano Gusmini.
Jon Wesseltoft has his background from sound art, improv, drone and noise. He is an active solo artist and also part of projects like Maranata, Tongues of Mount Meru and Dogun. Wesseltoft has previously cooperated with among others C. Spencer Yeh (Burning Star Core), Lasse Marhaug, Okkyung Lee, Maja Ratkje and Snorre Ruch (Thorns/ Thorns ltd).
Susanne Ø. Sæther is a Postdoctoral Research Fellow at the Department of Philosophy, Classics, History of Art and Ideas, University of Oslo. Her research field is the intersection of contemporary art, media and technology, with a particular emphasis on contemporary moving image practices. Sæther’s postdoctoral project is an in-depth study of various configurations of the cinematic in art since 2000. Among her recent publications are “Are you talking to me? Spectatorship in Post-Cinematic Art” in Thinking Media Aesthetics, edited by Liv Hausken (Peter Lang, 2013) and “Grey Room, Bursts of Lights” on Susanne Winterling’s camera-based work (forthcoming, 2013). Sæther is also an occasional curator. In addition to regular screening programs, her curated exhibitions include “Comme au Cinéma: The Cinematic as Method and Metaphor” (2008) at Fotogalleriet (Oslo) and “Ghost in the Machine” (2008) at Kunstnernes Hus (Oslo).