Lecture 10: Artist’s Cinema

In the final part of our lecture series, we speculate on the future of cinema. This lecture takes this inquiry into the concept of ‘the artist’s cinema’ – exploring the intersection between cinema and art.  Based on the premise that wider accessibility of media technologies has enabled an intermedial mode of practice, we argue that screen media has the potential to open up conventional cinematic forms and introduces different possibilities. We will examine the return to the cinematic by looking at ‘the place of artist’s cinema’ in contemporary culture. We ask two pivotal questions: how does the moving image shape our experience of the personal? and what kind of power does the image possess?

Download Lecture Slides: MEDA201_2018_Lecture10_small

Workshop 10: Major Project Presentations and Planning

Testing projection of final work

In the week 10 workshop, you will present your concept for your major project to class. This will give you an opportunity to present your research and conceptual development. Use this forum to test out your ideas and solicit feedback. In particular, you will want to show the artwork/ practice that you are responding and your research materials. You may also want to bring other support material to show (sketches, diagrams etc) to talk through your ideas. Your presentation should be around 10 to 15 minutes including questions and feedback. Your presentation, while not assessable, will be taken into account in the final assessment of the major project.

Please read the project outline carefully to ensure what is required for the assignment.

Continue reading

09: THIRD MEANING

JOHN AKOMFRAH (b. 1957 Ghana)

 

 

 

 

NOTES:

  • Practice: (1) don’t wait, (2) there are no mistakes, (3) receptive to possibilities
  • Montage: juxtaposition, bricolage, bring together fragments, the third meaning – dialectic, new meaning emerges from collision
  • Archive / library / collection / historical expanse – memory, mortality, image as immortality, surplus of fictions, intervention, regimes of representation
  • Inspiration: Tarkovsky – ‘border (limits) of cinema’, Stuart Hall – archive, post-colonialism
  • Transmedia context: cinema/TV/gallery – each zone has its own demands, be clear / courage to name germinations, sculpt forms of address as transformations
  • Social commentary
  • Migration: crossing seas/refugee-ship/death, diaspora, origins
  • Cinematic tropes: montage, time-remapping, dramatic re-enactment
  • Multi-screen: proximity, simultaneity, dialogue, association rather than counterpoint, reflections, emergence, dramaturgy/construct
  • Location / place

 

KADER ATTIA (b. 1970, France/Algeria)

Kader Attia, J’Accuse 2016, teak, steel rebar, single-channel digital video, projection, colour, sound, installation view, Australian Centre for Contemporary Art, Melbourne. Courtesy the artist and Galerie Nagel Draxler, Berlin/Cologne © the artist. Photograph: Andrew Curtis

Attia explores ideas around cultural exchange and the complex relationship between non-Western cultures and Europe, after decolonisation, through his art. – https://www.mca.com.au/artists-works/exhibitions/759-kader-attia/
NOTES:
  • Memory/amnesia, past/future
  • Images and memory
  • Immigration, in-between space, journey
  • Exhibition as statement
  • ‘Charged’ objects, wunderkammer
  • Repair, injury, fixing, evolution, mimicry, destruction, fragmentation, untold stories, successions of states
  • Broken object, repaired object, tradition / modernity
  • Politics and poetry, ethic of art
  • Paradox – veil of illusion, chaos
  • La Colonie – cafe / agora / workshops / conference, public discursive space, gap between representation and the act
GRAD SHOW COORDINATOR: STEPHANIE BEAUPARK sb924@uowmail.edu.au

Workshop 09: research for Major Project concept presentation

 

MEDA201 2017, Hayden Starr’s Major Project

In workshop 9, we discuss the variety of approaches you may take to produce your major project and how you can present your ideas to the class in the following week. During this workshop you will also have time to begin or continue researching for your major project.

In the week 10 workshop, you will present your concept for your major project to class. This will give you an opportunity to present your research and conceptual development. Use this forum to test out your ideas and solicit feedback. In particular, you will want to show the artwork/ practice that you are responding and your research materials. You may also want to bring other support material to show (sketches, diagrams etc) to talk through your ideas. Your presentation should be around 10 to 15 minutes including questions and feedback. Your presentation, while not assessable, will be taken into account in the final assessment of the major project.

Please read the project outline carefully to ensure what is required for the assignment.


[Ant Beard’s single-channel screenwork in 2011 responded to Len Lye’s cameraless films in their use of light animation, and music] Continue reading

Lecture09: Screen Art and Installation

EIJA-LIISA AHTILA, THE HOUR OF PRAYER, 2005

What is cinema today? With the ubiquity of screens, what is the future of cinema? This lecture starts with a vision of a future cinema and move backward in time to trace the influences and lineages that have extended the cinematic experience to screen art and multiscreen installation forms.

We extend our earlier exploration into the historical development of expanded cinema to expanded form of digital video. We delve deeper into screen art and installation works today, continuing our exposition on the video medium. We examine what new experiences are enabled the digitisation of the medium and development of technologies. 

Download lecture slides: MEDA201_2018_Lecture09

Due to a technical fault, Lecture 09 was not recorded. You can access the playlist here.

DONNA HARAWAY: STORY TELLING FOR EARTHLY SURVIVAL a film by Fabrizio Terranova

 

 

https://earthlysurvival.org/

To make this film, Brussels director Fabrizio Terranova spent time with Donna Haraway – eminent feminist thinker and historian of science – at her home in Northern California, constructing a unique cinematographic portrait that troubles the borders between theory, science fiction and reality. A depiction of powerful thought in motion, Story Telling for Earthly Survival (2016) mixes storytelling, archival imagery and fabulation in the Californian forest.
“A rare, candid, intellectual portrait of a highly original thinker; Haraway is a gifted storyteller who paints a rebellious and hopeful universe teeming with critters and trans species in an era of disasters.”—Concreta Journal

Frontyard

228 Illawarra Rd, Marrickville, New South Wales 220
Tues 24 April 6:30pm

08: ITERATIVE PROCESS

[Martin Molin’s detailed documentation of the making of his instrument: the music box here shows a demanding iterative process.]

Molin is the key member of the Swedish band Wintergarten. He is well known for inventing musical instruments that performs his compositions. The best known is probably the Marble Machine. He has also gained a following on the detailed video documentation of his making and tutorials on his working processes. The music box (above) uses ‘punch card’ music roll that can be ‘programmed’. At the end of his tutorial, he asks if anyone would be interested in mechanising the laborious hole-punching process and this is what happened…

Materialising

In the second assignment, Critical Analysis, you are asked to:

  • choose one work that you feel strongly about
  • research the artist, his/her intention in creating the work, the central ideas he/ she is conveying in the work
  • critically analyse the work in terms of its craft
  • describe the physical presentation of the work in details
  • assess how well the artist achieves his/ her ideas or intention through the work’s material manifestation.
  • speculate on the reasons the artist may have made certain decisions (for example, the exhibition space, technical details in the install, the choice of materials used and so on).

The intention of this analysis to ‘reverse-engineer’ a work, to understand how ideas are transformed into physical, material forms through experimentation, production, presentation and/or exhibition.

How do we do that?

Paul Carter writes:

Materials are actively forming and informing, patterning and re-patterning themselves and their surroundings… their activity can reasonably be described as discursive. To say this means, thought re-materialisng discourse. When this occurs something else emerges. The image/ text, or non-discursive/ discursive opposition tends to melt away, and a third, material discourse emerges. (180)

So we may analyse and critique in words:

  • Analysis and critique are two key steps in creative practice education (critique sessions are the mainstay of disciplines such as art, design, architecture, and filmmaking).
  • This trains practitioners to speak the language of Carter’s “third, material discourse”.
  • Practitioners need to be informed about all the contexts  that may influence their works from economic pressure of the marketplace, the political situation of funding, sourcing materials, to modifying or inventing new methods/ processes .
  • Creative works cannot be separated from the material cultures within which they emerge from.
  • Practitioners/ makers need to understand how materials play a part in realising their ideas.
  • By materials, I don’t mean just physical material; digital media has its own materiality

Analysis: Biennale of Sydney 2018

Start with analysis of the work/ objects you have chosen from this exhibition. ‘Reverse engineer’ or work backwards to find out:

  • how was the work made?
  • What materials was used?
  • What kinds of processes were used?
  • Was there much experimentation involved? What purpose did these experimentation serve?
  • What decisions were made?

Now here is the hard questions:

  • Why were these decision made?
  • Why these materials?
  • Why these processes?
  • How did these ‘serve’ the ideas explored?
  • And what are these ideas explored?

From ideas to making

This is a short feature on Limor Fried (aka Ladyada), founder of Adafruit Industries. Identify the ideas she talks about in terms of making.

Michel Gondry is a innovative and extremely creative maker. He has made many well-known music videos (e.g. for the Chemical Brothers and the White Stripes). He is probably best known for his animation works. Animation is an old technique that is continuously being transformed through ideas and new technologies. Gondry is excellent at problem-solving using this form of expression. Have a look at the following video where Gondry talks about his work Is the Man who is Tall Happy? based on his interview with Noam Chomsky. Write down the different ideas he is exploring, at the same time, write down what animation techniques he is using to explore these ideas.

WORKSHOP

In week 6, you formed groups based on your interests in a number of areas identified as follows (please let me know if I have left you out):

FIDELITY (MAT)
Eliza Appel, Blake Foggo, Liam Walker, Toby Wilkinson, Chris Boyd, Saverio Pirrottina

POWER (MAT)
Christina Donoghue, Emily Duncan, Jessica Dryburgh, David Guveski, Mia McRobert, Chantelle Hyde

DIALECTIC (MAT)
Angus Rigby-Wild, Geoff Lee, Angela Cullen, Ryan Catbagan, Daniel Lavin, Mark Johnson

EXPANDED CINEMA (AARON)
April Misiluti, Brittany Spencer, Rebecca Neilson, Hayden Starr, Andrew Hodsden, Jei Strolin

MONTAGE (AARON)
Blake Sykes, Lee Butler, Alex Mead, Alex Pham, Dylan Le, Adam Weir

THREAD (AARON)
Zoe Majstorovic, Ceren Tabak, Noelle Jackson, Olivia French, Carah Fiseris, Matthew Lawrence

Activity: Experiment

1.On the sheet of paper provided write down:

  • Working title of project (no longer refer to the project as ‘yours’, give it a life of its own and be prepared to kill it if you have to)
  • A key material the project might consist of
  • A significant idea or theory the project relates to
  • Identify a tradition or genre the project responds to
  • An aim or goal of the project
  • The personal motivation or personal relevance behind the project

2. Circle or underline the two most important aspects of the project OR two areas you are having trouble with

3. Outline a single experiment / model to undertake today that will develop the project – detail on sheet of paper

4. Spend 10 minutes on each group member discussing projects by way of the two significant features identified in step 2 and the activity of step 3. Suggest alternative research and development activities for each project and suggest ways in which you might help other projects.

5. Discuss how you each want to spend the next two hours (and next few weeks) and if you require assistance or wish to the share in any of the other project’s development/experimentation. Some of the projects might benefit from similar experimentation.

6. Let your tutor know your plans and any assistance required.

7. Scan/photograph sheet of paper for blog. Document discussions and work-in-progress for blog.

Week 8

Eija-Liisa Ahtila, Potentiality for Love, 2018 (Production still)

There is no scheduled classes in week 8 of Autumn 2018 for MEDA201. Instead, we encourage you to take this time to visit the 21st Biennale of Sydney to undertake research for your major project. This is a great opportunity to look at screen-based installations in situ and explores contemproary experimental screen art first hand.

Below are screen-based works that may be of interests:

Eija-Liisa Ahtila, Potentiality for Love, 2018 (installed view)

EIJA-LIISA AHTILA

Samson Young, Muted Situation #22: Muted Tchaikovsky’s 5th, 2018 (production still). The work is a video and 12-channel sound installation.

SAMSON YOUNG

Chen Shaoxiong, The Views, 2016

CHEN SHAOXIONG

We will preview some of these works in week 7’s lectures. If you are planning a trip, you may also want to discuss your itineraries (works/ exhibitions you wish to see) with your tutor before the mid-session break.

A reminder that your assessment 2: Research Essay is also due this week. Please submit your essay electronic on Moodle via Turnitin.

 

ON THE BOX

Conquest of Space: Sci-F & Art

Andrew Frost explores how a very specific genre of popular culture – sci-fi – with its storylines and themes has come to influence contemporary Australian art.

https://iview.abc.net.au/programs/conquest-of-space-sci-fi-and-art/AC1347H001S00 (available until 21 April 2018)

Real Mass Entrepreneurship

Simon Denny went to Shenzhen, where there’s been a boom of “mass entrepreneurship.” Self-identified makers are moving to this high-tech pioneer village, the “Silicon Valley of hardware,” to make it—believing the only limitations for creative people are imagination and effort.

https://dis.art/real-mass-entrepreneurship (available until 2 May 2018)

07: CONSULTATIONS & PROJECT DEVELOPMENT

Week 7 is devoted to individual consultations and project development.

8:50-11:40   INDIVIDUAL CONSULTATIONS & CHOOSE YOUR OWN ACTIVITY*

11:40-12:20 WORKING GROUP UPDATE

*ACTIVITIES:

PROJECT DEVELOPMENT /EXPERIMENTATION (FREE-RANGE / BLACK BOX)

RESEARCH (GO5)

SCREENING: LEVIATHAN (LECTURE THEATRE)

SCREENING: CREMASTER 3 (G04)

READING: BRUNO LATOUR (2010) AN ATTEMPT AT A COMPOSITIONIST MANIFESTO

 

232_DMC GALLERY 8:30-12:30

ACTIVITY: Individual Consultations 8:50am-11:30am

MAT               AARON

8:50                Eliza               April

9:00                Blake F           Brittany

9:10                Liam               Rebecca

9:20                Toby               Hayden

9:30                Chris B           Andrew H

9:40                Christina        Jei

9:50                Emily              Blake S

10:00             Carah              Lee

10:10             David G          Alex M

10:20             Mia                  Zoe

10:30             Chantelle        Geoff L

10:40             Angus             Ceren

10:50             Dylan              Jessica

11:00             Angela            Olivia

11:10             Ryan               Noelle

11:20             Daniel             Alex P

11:30             Mark               Adam W

 

233_G01 Lecture Theatre 8:30-10:30

SCREENING: 8:45 – 10:15am Leviathan (2012) dir. Lucien Castaing-Taylor & Verena Paravel

232_G04 Computer Lab 8:30-11:30

SCREENING: 9:00 – 10:45am Cremaster 3 (excerpt) dir. Matthew Barney

232_G05 Computer Lab 8:30-11:30

ACTIVITY: Research / Essay