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The Vienna Action Group formed the most provocative, insurgent, and challenging of all the worldwide art movements of the 1960s. Their sexually charged and antisocial actions exacted a profound and irreparable upheaval in the way in which art was conceive
Sitney analyzes in detail the work of eleven American avant-garde filmmakers as heirs to the aesthetics of exhilaration and innovative vision articulated by Ralph Waldo Emerson and explored by John Cage, Charles Olson and Gertrude Stein. The films discussSitney analyzes in detail the work of eleven American avant-garde filmmakers as heirs to the aesthetics of exhilaration and innovative vision articulated by Ralph Waldo Emerson and explored by John Cage, Charles Olson and Gertrude Stein. The films discussed span the sixty years since the Second World War.
Sabine Folie and Susanne Titz (Ed.), edited for the Generali Foundation, Vienna and Museum Abteiberg, Mönchengladbach 2012.
With introductions by Sabine Folie and Susanne Titz, essays by Thom Andersen, Rainer Bellenbaum / Sabeth Buchmann, Yve-Alain Bois and short texts by Morgan Fisher
A relational [video] grammar: extrapolation is an editing experiment that uses drawing and the addition/reconfiguration/obliteration of text to examine speech generated during the making of direct address to camera, within a context of artists’ film and video. a relational [video] grammar: extrapolation tests the conceptual relationships between linguistic and technological editing processes.
Indiscretions follows the path of U.S. avant-garde film and video from the underground of the 1960s to the academy of the 1980s. Patricia Mellencamp traces and charts the intersections of Lacanian psychoanalysis and the desiring male subject, Roland Barthes and texts of pleasure, Michel Foucault and the disciplinary society, the grotesque body and Mikhail Bakhtin, the rhizomatic alogic of Gilles Deleuze and Felix Guattari, and the female subject of feminist film theory.
The publication “...and the figtrees in the Alameda gardens” brings together three of Nina Danino’s early 16mm films—First Memory (1980), Close to Home (1985), Stabat Mater (1990)— which are related to Gibraltar as a real place, and as an imagined geography and history. The publication includes the artist’s recent work Meteorologies (2013).
The book is published on the occasion of Nina Danino’s solo exhibition “...and the figtrees in the Alameda gardens” at the Garrison Library, a magnificent library in Gibraltar—established in 1793. Since then, the venue, with its fine collection of rare books and documents, has been a centre of international cultural life in Gibraltar.
Joseph Cornell is one of the most significant American artists of the twentieth century. His work is highly visible in the the world's most prestigious galleries, including the Tate Modern and MOMA. His famous boxes and his collage work have been admired and widely studied.
However, Cornell also produced an extraordinary body of film work, a serious contribution to 20th-century avant-garde cinema, and this has been much less examined.
Despite being a consummate polymath, George Kuchar (1942-2011) is best known as a pioneering underground film and video maker with a disarming do-it-yourself aesthetic and a hilariously eccentric sensibility. Quirky and ingenious, heartfelt and campy, Kuchar's movies know no boundaries and are an entirely unique development in the history of cinema. The artist's characteristic instinct for kitsch, his humor and conceptual brilliance, were not confined to the screen alone; they can be glimpsed in all the activities he carried out throughout his life. The George Kuchar Reader, edited by Andrew Lampert, collects a wide swath of previously uncollected and newly unearthed writings and visual work, including essays, comics, drawings, paintings, photographs, film stills, scripts, movie blurbs, correspondence, letters of recommendation for his students, documentation of his UFO sightings, excerpts from his dream journal, selections from his private notebooks and much more.
Comment vivent et travaillent, à l' «ère du numérique», les cinéastes expérimentaux? Qu’en est-il de leur attachement à la matérialité de l'objet-film? Quels sont leurs outils, leurs rapports à la création, leurs manières de penser, de fabriquer et d'habiter les images et les sons? Comment financent-ils leurs projets? Quel regard portent-ils sur leur parcours et sur les mutations décisives que connait aujourd'hui le cinéma, y compris «expérimental», envisagé dans sa dimension esthétique, pratique, technique, économique et institutionnelle?
Entretiens avec Martin Arnold, Frédérique Devaux, Olivier Fouchard, Ken Jacobs, Christian Lebrat, Rose Lowder, Nicolas Rey, Silvi Simon, José Antonio Sistiaga.
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