Not Signed-In
Which clippings match 'Contemporary Visual Art' keyword pg.1 of 1
02 SEPTEMBER 2013

The artistic image: 'between the sayable and the visible'

"The sworn enemy of this logic of combination or juxtaposition are the border police of genre classification (typical of art history and its curatorial leanings which seem to contaminate film theory too) who struggle with any notion of redistribution of the sensible. It is in The Future of The Image that Jacques Rancière defines the artistic image as a set of operations or relations 'between the sayable and the visible' and calls this the regime of the 'distribution of the sensible', a status quo which can be altered, through a redistribution, which creates new ways of seeing (Rancière, 2007: 6). In the work of Marker and Godard, such a redistribution of the sensible has been generally understood, categorised as–and duly named–'film–essays', ever since André Bazin coined the phrase, referring specifically to Marker's work as a political and historical type of writing mediated by poetry (Bazin, 1985: 179–181). Fine. But what does the catch–phrase cover? What practice does it immunise? Is there a risk of seriously limiting the scope and aesthetic dimension of such films by segregating them?

Phillip Lopate considers the film–essay a 'cinematic genre that barely exists' in Can Movies Think? In Search of The Centaur: The Essay–Film (Lopate, 1998: 280). It must have words, whether spoken, subtitled, or intertitled. These must represent a single voice and exclude any collage of quoted texts that do not reflect a 'unified perspective'. The film must be an argument, an attempt at working out a problem; it must put across a personal view, and be well–written (Lopate, 1998: 283). However, his classification is quite prescriptive: no interviews are allowed and no documentaries (Lopate, 1998: 305). Yet, Lopate's examples include Resnais's documentary Night and Fog (1955) and his dictate of 'reasoned, essayistic discourse' seems too narrow from the perspective of visual art, and certainly contradicts his celebration of Marker, whose digressive approach to text and image is deliberate in a spiralling multiplicity that brings to mind, for example, Carlo Emilio Gadda's novels which are equally and intentionally digressive and always on the edge of subverting the integrity of the text, or, perhaps closer to home in a French milieu, Georges Perec's roving pen in Species of Spaces and Other Pieces (1997) that picks up from the smallest detail of everyday life a point of departure for a long intellectual journey. In this regard, Italo Calvino's 1985 Harvard lecture on multiplicity, later collected in Six Memos of the next Millenium (1993), provides an excellent cultural context for exploring the method and the creative potential of experimenting beyond the limitations of genre from inside, showing how genre can become a nonsense when its border lines are crossed, because you are invited to look at the real differently; true of these filmmakers, true of Calvino himself, true of the films of Michelangelo Antonioni or of Federico Fellini's too."

(David Brancaleone, 2012, Vertigo Magazine)

Brancaleone, D. (2012). "The Interventions of Jean–Luc Godard and Chris Marker into Contemporary Visual Art". Vertigo Magazine. Spring 2012.

TAGS

Andre Bazinart history • artistic image • border crossings • border/boundaryborderline • Carlo Emilio Gadda • Chris MarkerChristian Boltanski • cinematic genre • classificationcontemporary artcontemporary visual artcuratorial practice • digression • digressive approach • distribution of the sensible • essayistic discourse • experimental cinemaFederico Fellinifilm essayfilm theory • genre classification • genre differentiation • Georges Perec • integrity of the text • interventionist artJacques RanciereJean-Luc GodardjuxtapositionMichelangelo AntonioniMnemosyne Atlasmulti-media collagistmultiplicitiesmultiplicity • new ways of seeing • Night and Fog (1955) • Okwui Enwezor • Phillip Lopate • problem centric approach • redistribution • redistribution of the sensible • sayable • sensible • set of operations • set of relations • Six Memos of the next Millenium (1993) • Species of Spaces and Other Pieces (1997) • text and image • unified perspective • Vertigo (magazine) • video artist

CONTRIBUTOR

Simon Perkins
11 OCTOBER 2012

We Are Primary: an artist-led social and cultural resource

"Primary is an artist–led space that exists to support creative research and to develop new ways of engaging with audiences. Offering dedicated artist studios alongside flexible spaces, both within and outside the building, where artists from around the world can meet and work in the heart of Nottingham. Primary is a place where artists and the public can share, experiment and learn about contemporary visual art through an ambitious programme of events and activities. ...

In November 2011, the building opened its doors to the first resident artists: Nadim Chaudry, Simon Raven, Yelena Popova, Rebecca Beinart, Matt Hawthorn, Andy Lock, Simon Withers, Mik Godley, Tether, Frank Abbott, Craig Fisher and Debra Swann. Further recruitment of resident artists has continued in 2012 with an associate artist programme launching later in the year. ...

[Note that] we are not currently open to the public except for special events. However if you would like to visit, please get in touch: 33 Seely Road, Nottingham, NG7 1NU, +44(0)115 924 4493"

(Nottingham Studios Ltd., UK)

1

TAGS

2011 • alternative spaces • Andy Lock • artist studios • artist talks • artist-led initiatives • artist-led space • artistic practiceartists • arts infrastructure • associate artist programme • associate artists • audiences • canteen • charitycontemporary visual art • Craig Fisher • creative research • cultural resource • Debra Swann • Douglas Primary School • exhibitionsFrank Abbott • Matt Hawthorn • Mik Godley • Nadim Chaudry • new ways of engagingNottinghamNottingham city • Nottingham Studios Ltd • physical resource • playgroundPrimary (artist-led space) • programme of events • public programme • public spaces • Rebecca Beinart • residency space • Simon Raven • Simon Withers • social and cultural resource • social resource • studio provision • studio space • Tether (pseudonym) • UKYelena Popova

CONTRIBUTOR

Simon Perkins
07 OCTOBER 2012

Beacon: visual arts organisation based in Lincolnshire

"Beacon seeks to inspire others by sharing its curiosity about contemporary visual art through the delivery of a programme of regular events and one off curated projects.

Beacon is a visual art organisation based in Lincolnshire in the East Midlands. It was set up in 2004 by John Plowman and Nicola Streeten. In 2006 Beacon Artproject Limited became a not for profit company limited by guarantee. Registered in England and Wales. Registration No 5809581. In June 2009 Beacon achieved charitable status."

(Beacon Art Project, UK)

Fig.2 Published on 2 Oct 2012 by Beacon Artproject, "Interview of the Week: Laura Mahony on Amanda Coogan's performance workshop".

Fig.1 Amanda Coogan, live durational exhibition for the Beacon Art Project at Ascoughfee Hall.

1
2

TAGS

200420062009 • Amanda Coogan • Beacon (art projects) • Beacon (arts organisation) • Beacon Art Project • Beacon Artproject Limited • charitable statuscontemporary artcontemporary visual art • curated projects • curiosity • durational exhibition • East MidlandsEngland • inspire others • John Plowman • Laura Mahony • Lincolnshire • live durational exhibition • live exhibition • Nicola Streeten • not for profit • one-off • shared curiosity • UK • visual art events • visual art organisationvisual artsWales

CONTRIBUTOR

Simon Perkins
Sign-In

Sign-In to Folksonomy

Can't access your account?

New to Folksonomy?

Sign-Up or learn more.