Artist Film and Video

Expanding Documentary: Sound, Image, Text 2011 is the eighth biennial conference held in Aotearoa New Zealand. Arising out of a 'small country'context, the event has been distinguished over the years by its concern to engage artists, makers, ...

Dr Denis Grünemeier, Trier University
‘Over the Ocean: Scenes of Displacement, Migration, and the Search for a New Humanism in Contemporary Cinema’ (R)
My presentation aims to explore the potential of cinema in dealing with migration and the refugee crisis, which have become the central social tasks of the 21st century. The experiences of migration and loss, accelerated by climate change, (civil) wars, and resource scarcity, dramatically contradict our fundamental need for social and personal anchorage. Consequently, there are numerous artistic representations that respond to the present events. Within both the media and art, classical art-historical images are reinterpreted against the backdrop of contemporary catastrophes. A striking example is Théodore Géricault's painting The Raft of the Medusa of 1819, serving as both an allegory for the failure of human civilization in the refugee crisis and a reference point for contemporary artists. In exchange with other arts and media, cinema emerges as a vital form of resistance, capable of addressing the complex issues of borders, cultural amalgamation, and migration. From a religiously grounded contemplation, as in The Ten Commandments (1956), to the apparent crisis of humanism in Human Flow (2017), feature films and (experimental) documentaries unfold their critical visual potential. Here, at the latest, the enormous sociopolitical concern of many films is palpable. In my presentation, I will highlight the power of cinema as a tool for exploring displacement, focusing on a selection of powerful images and scenes, as well as Theo Angelopoulos' unfinished film project The Other Sea (2012).

In general, the Community Design Studio, operated out of the University of Auckland School of Architecture between 1983 and 2001, and engaged exclusively in LIVE projects, many but not all of which were in the Maori community. It was created to offer free design services to low income and marginalised groups who could not otherwise afford professional design fees. Over the 18 years of its existence, the Community Design Studio completed more than 40 projects, all of a very high standards, and many of them bringing about major changes in the environment and in the community. Projects were conducted in the context of a cooperative learning environment in which students worked collectively on one design proposal. Decisions were made by consensus. Students were evaluated upon a range of issues involved in a group process as well as on the merits of their final design proposals. Evaluations were also developed through consensus. Client feedback formed an important element in this evaluation process. Projects from the Community Design Studio (University of Auckland) The Design of a Youth Support Facility for the Kerr Taylor Trust: (1984) Fifteen Third year students developed design proposals for a Youth Village on land owned by the Anglican Church and administered by the Kerr Taylor Trust. The eventual outcome of the project was the building of a facility for Youth at Risk under the auspices of the Rev, Felix Donnelly. The Alternative Aotea Centre Project: (1985) Perhaps the most widely publicised project carried out in the subschool was the Alternative Aotea Centre for the Performing Arts. This comprised a 3 week, 50 person consensus design process for a Performing Art Centre for Auckland. The project was televised by Television New Zealand, exhibited in Auckland, and widely reported and discussed in magazines and newspapers. The project has been published in two international design magazines, and has been included as a chapter in a book on design participation.(see exhibitions). The Highbury Study: (1985) The Birkenhead Business Association commissioned the Community Design Studio to do a major Urban Design Study for Birkenhead City. (pop.40,000) Students produced a Pattern Language for the Town, and the studio design proposals were later partially integrated into the Birkenhead City Council's District Scheme. The Viaduct Basin Study: (1986) An environmental study of Auckland's waterfront commissioned by the Auckland Civic Trust; the intention being the development of Design Guidelines to be presented to a public seminar at Auckland's Custom House May 1Oth 1986 opened by the Minister of the Environment, the Hon. Phil Goff. The Guidelines later formed the bulk of the Auckland Civic Trust's own landmark report The Viaduct Basin. The Karangahape Road Project: (1986) A development proposal, coupled with an $80M bid through one of Auckland's foremost development companies for development rights to a 5 acre block of Council-owned land. The proposal included residential, commercial and recreational facilities on multiple levels. The proposal was short-listed by the City Council with two others (out of 21 applications), but failed

This practice-based research investigates how projection mapping develops a distinctive relationship between screen, moving image, and space in projected moving-image art. Despite projection mapping’s growing popularity, little in-depth research has been conducted on this medium. This lack of research and the superficial nature of many projects have led artists and researchers to regard the medium as a mere technique that serves only to decorate three-dimensional surfaces. Rather than view projection mapping simply as a digital technique, my research situates it in the continuum of projected moving-image installation artwork. To do this, I examine projection mapping’s screen, narrative, and surrounding space—the constituents of all projected moving-image installation art—through the lenses of surface and depth. In addition to considering cinematic frames, I analyse these traits through artistic lenses such as painting, site-specific art, and architecture to investigate how projectio...

This thesis presents a systematic investigation of the moving image works of Apichatpong Weerasethakul, concentrating on the contemplative and non-representational dimensions of his creative practice. Apichatpong's practice operates in the space between transnational art cinema and contemporary art and draws from a wide range of creative and conceptual influences from Theravada Buddhism to postwar American experimental filmmaking and contemporary 'slow cinema,' often diverging from conventional expectations of narrative cinema to dwell in moments of emptiness, contemplation and dead time. In this thesis, I trace these influences through Apichatpong's feature films, short films and installations the formal appearances of stillness, silence and extended duration, and reflect upon the broader political and phenomenological implications of these empty moments. Rather than understand emptiness as an incidental feature of his creative practice, I argue that emptiness is integral to Apichatpong's understanding of film form and the world. Through this investigation, I argue that Apichatpong's idiosyncratic film practice challenges many of the basic structures of conventional film form and spectatorship by orienting away from narrative logics of cinematic meaning to instead sensitise spectators to other ways of being in and experiencing the world.

No abstract availableThis editorial was originally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as part of The International Journal of Screendance, Volume 3 (2013), Parallel Press, http://journals.library.wisc.edu/index.php/screendance/issue/view/55. It is made available here with the kind permission of Parallel Press.

This article explores re-mediations of non-fiction through an examination of so-called animated documentary and interactive documentary. By focusing upon case studies from Africa, the article proposes that whilst these processes and methods are not conventionally aligned with documentary practice in a customary sense, they offer aesthetic strategies that allow artists and filmmakers to consider their position reflexively as authors, curators and participants in the narratives that they seek out to explore. Their films exist on the periphery of typical classifications of this genre and this peripheral status allows them degrees of freedom that would otherwise not be possible with conventional methods. In animation, for example, they are able to draw upon specific aesthetic motifs or culturally located iconography that resonates with local audiences. Through interactivity they are able to tap into the participatory cultures and user-generated content to encourage polyvocality as a means to examine "truth" and in turn to question the authority of the author. Africa, animation, interactive documentary, remediation, reflexivity Until recently, documentary filmmaking was often framed and discussed with reference to the practices that stemmed from early European observational cinema, its legacies of the referent and index (Barthes, 1981; Peirce, 1958) and the appeals of direct cinema. However as Jean Marie Teno points out even within fiction the presence of documentary value is found, as is often discussed in the context of those early African films such as Borom Sarret (1963) where characters played "real-life" roles in stories "rooted in the social and political context of the time" (Teno, 2016 p.108). This article will focus upon the "documentary value" of a range of formats such as the interactive and/or animated moving image in new media contexts across Africa that could be perceived to challenge these long-established conventions and simultaneously offer innovative aesthetic resources.

Korean version of the exhibition review of Guy Ben Ner - Go Back Where U Came From, Tel Aviv Museum of Art (29/11/22-17/6/23)

The first retrospective in Israel for the artist Guy Ben Ner (b. 1969, Israel, lives and works in Tel Aviv), who is one of the most prominent video artists in the world today.

This volume provides a documentation of the ISEA2010 RUHR Conference Programme, organised within the 16th International Symposium on Electronic Art in the German Ruhr region from 20-29 August 2010. It is the result of an extensive and complex process involving the cooperation and effort of hundreds of contributors-a process which we believe is worthy of a short recapitulation. The contributions to the ISEA2010 RUHR Conference programme have been selected from a total of 1052 proposals. About a fourth of them were paper submissions and proposals for conference panels, and in addition to these, many authors from other categories (exhibition, performance, film and internet projects), whose projects could not be realised in the festival programme, have been selected on the Reviewing Committee's recommendation to be invited for artist presentations in the conference framework. Submissions to the Call for Proposals came from 58 countries, the largest proportion being German contributions, followed by large numbers of projects from the U.S.

Jason Dee's work reflects the transformation of cinema’s material origins, revealing the uncanny effects of a contemporary medium still haunted by its past. Where celluloid film was dictated by the mechanical time of the Modern World, digital technology allows images to be frozen, scaled, reversed and displaced - in Dee’s work to form enigmatic, autonomous portraits of a story world caught between reality and illusion. Pursuit of a Shadow featured new work and is the most comprehensive exhibition by this artist to date. "There is no longer the transformation of object into image with digital projections; instead they are the shadows of shadows. The filmstrip's material form becomes as illusory as the narrative worlds it once contained..." Jason Dee

The application period to participate in the 12th Athens International Digital Film Festival AIDFF has started. The festival, dedicated to the promotion of digital cinema, has established and championed the concept of New Cinema. It stands as the sole festival in Greece and one of the few in Europe that embraces all forms of cinematographic art. The festival features fiction, documentary, experimental animation, video-art, video-dance, and student films created using new digital media.
Simultaneously, the 10th International Ecological and Scientific Panorama will be held. For a decade, the Panorama has aimed to disseminate science through the compelling power of audiovisual media and digital technologies utilized by scientists worldwide. This year's theme, "Activism and the Use of Documentaries as Catalysts for Positive Change in Politics and Society," signifies strategic plans for collaboration, networking, and the utilization of diverse digital media to produce relevant information that shapes our world for the better.
In addition to the 12th AIDFF, the 1st International Festival of Short and Feature Film Scripts will be initiated. The term "script" originates from theater, specifically the Commedia dell'Arte, meaning "small scene." In Commedia dell' Arte, actors improvised on a given theme. Similarly, in cinema, the script serves as a pretext for creation, providing the canvas upon which directors can embroider their artistry. The screenwriter not only constructs the premise of the work but also invents its characters.
Throughout these eleven years, the festival has successfully become a preferred destination for filmmakers worldwide. Consequently, a new generation of creators with open horizons, unburdened by divisions, continues to emerge.
During the 11th AIDFF, we screened 100 experimental films, video art, video dance, and documentaries, both long and short, from 35 countries over six days. An international committee, comprising a large group of professionals, oversees the entire film selection process, from the initial application to the final screening. All films presented in the festival's halls are considered winners. Each year, the diverse digital landscape serves as inspiration to reevaluate the medium we employ to create films and to define new technologies. Aesthetic exploration remains the primary objective of AIDFF, with independent production serving as the bedrock of artistic expression.
The festival is organized by the KOYINTA Organization and TicketsTickets and collaborates with various companies and cultural representatives in numerous cities in Greece and countries around the world.
KOYINTA ORGANIZATION 
Athens International Digital Film Festival  www.aidff.com
https://www.instagram.com/aidffestival/
Applications for participation can be submitted to the festival via the FilmFreeway platform: https://filmfreeway.com/AthensInternationalDigitalFilmFestivalAIDFF

is a multidisciplinary visual artist, researcher, and curator of Franco-Iranian origin, living and working in Paris. Her artistic work explores the contradictions of human thought and draws inspiration from her intimate and social experiences, such as religious power in Iran and its consequences on human rights violations and gender inequality, war, as well as her experience of immigration. She addresses the complexity of constructing and knowing one's own identity when violence and suffering caused by political conflicts reach the intimate level. The body is omnipresent in her artistic work, both as a subject and object, and has become a powerful medium for conveying strong and provocative messages since her arrival in France. She is also sensitive to environmental issues and uses natural elements as a medium or subject in her works. Her art is exhibited internationally in exhibitions, video art and contemporary art festivals, as well as in academic conferences, such as the Traverse Vidéo festival in Toulouse, Les Instants Vidéo in Marseille, the London Feminist Film Festival, the RMN-Grand Palais in Paris, the Malmö Art Centre in Sweden, and the Art Museum in Arad, Romania. As a curator, she has been invited to several international exhibitions and has chosen to present a corpus of works by Iranian female artists, often censored and disregarded in their country, but who continue to create strongly political works, often in exile. She has received several awards in the field of art, such as the "London Feminism Short Film" award, as well as recognition for her activist work for liberty, including The Secularism Awards of the French Rite of the Grand Orient of France (GODF). Before leaving Iran for France in 2009, Parya Vatankhah taught at the University of Culture and Art in Tehran and Rasht for six years. Currently, she is preparing a thesis in Aesthetics, Sciences and Technologies of Arts, on the topic of committed art by Iranian female artists in exile. She also teaches courses on the representation of the body in contemporary art at the Department of Visual Arts at the University Paris 8.

This review of Elisa Mandelli's book The Museum as a Cinematic Space: The Display of Moving Images in Exhibitions (2019) explains how, according to the author, several viewing dispositifs, understood as a rather flexible assemblage of elements, are increasingly being used in museums to combine education with entertainment. Thus, museums are becoming "cinematic spaces" with an ideological perspective. Mandelli's approach to the projection technologies of moving images in museological venues is not only chronological but also phenomenological. A three-way interest is recognizable in the alignment of chapters, encompassing the educational value of the dispositifs, their artistic nature, and the experiential factor. As the book provides an interesting overview of two fields that usually are not taken together and contains an assortment of case studies described in detail, it should make a good addition to the fields of Museum and Film Studies.

By presenting the anthropological-artistic research project Between There and There: Anatomy of Temporary Migrations and the exhibition of the same name as one of its events, we analyse some of the terms that we, as its authors, used in constructing our narrative on modern temporary migrations. We have approached this phenomenon from the position of collaboration between cultural anthropology and contemporary art, with the goal of encouraging a dialogue between these two disciplines in addressing the said social phenomenon, often absent from the dominant public discourse on the “major” migration movements. When reflecting on modern migrations, cultural anthropology sees migrants as an active mobile subject that continuously and simultaneously creates and re-elaborates meanings and values while weaving dynamic transnational networks. However, transmigration also implies the architectures of these new relations, as well as the feeling of permanent displacement and not-belonging. The p...

The use of artistic and contemporary digital filmmaking is explored as a educational tool for enhancing compassion, emotion and reflective professional practice in a healthcare environment. The case study film, The Golden Window, was produced specifically for this research and captures a unique insight into an advanced life saving technique for premature babies. The research shows that the artistic use of filmmaking and sound design brings an immersive audience experience that has caused practitioners to reflect on their professional practice in new ways, and specifically with respect to the compassion they show to patients and other staff. Furthermore, this method of filmmaking has been seen to engage new audiences and to inspire and educate the general public in a complex field of healthcare and science.

Le cinéma de réemploi (ou de found footage) suscite depuis une quinzaine d’années un engouement critique et théorique qui va de pair avec la « fièvre de l’archive » qui parcourt actuellement le champ des sciences humaines. On peut toutefois s’étonner du manque de considération ou d’attention dont font parfois preuve certains de ces chercheurs à l’égard des questions proprement matérielles, des opérations techniques, des contextes historiques précis qui ont permis, autorisé ou rendu possible la réalisation de films aussi différents — et reconnus — que Tom, Tom, the Piper’s Son de Ken Jacobs, Eureka d’Ernie Gehr, Public Domain d’Hollis Frampton, etc. L’origine des matériaux réemployés, le contexte historique de leur accessibilité et les techniques de leur réemploi — en somme, tout ce qui compose les gestes d’excavation et de reproduction de ces films d’archives — déterminent sur bien des aspects l’expérience de ces oeuvres (de leur fabrication à leur réception) et l’imaginaire de l’ar...

El perro negro. Historias de la Guerra Civil española, se erige como una de las propuestas estéticas más fascinantes sobre nuestro conflicto bélico. A partir de los metrajes domésticos de un empresario textil catalán y un estudiante madrileño, Peter Forgács construye un film que se levanta sobre ciertas operaciones retóricas afines al discurso artístico: la yuxtaposición y el desplazamiento. Esta forma de trabajar el material fílmico, que implica la ruptura consciente del armazón narrativo y la inclusión de poderosas imágenes-emblema, introduce a El perro negro en los territorios de lo onírico a la vez que lo dota de una enorme densidad simbólica

This paper takes as its starting point the need for community level action as an immediate step toward 'Closing the Gaps'. The focus is on local employment initiatives underpinned by a broader approach to community development. New Zealand case studies are used to illustrate. The paper examines the development and refinement of an alternative framework - positive spirals of ‘societal capital’. This is differentiated from the concept of social capital. The role of the Community Advisor is also discussed. Lessons are drawn for the future.

časopis za suvremena likovna zbivanja magazine for contemporary visual arts razgraničavanje pojmova kustoska profesija oblik je kulturalne prakse vrlo fleksibilnog tipa. ono što unutar nje možemo označiti kao "fiksno" jest to da se bavi umjetničkim praksama i da se upisuje u ono što nazivamo umjetnički sistem, koji je dio kulturnog i društvenog polja. prema Šuvakoviću, "kustoske prakse su teorijske i praktične, stvaralačke, posredničke i birokratske aktivnosti u koncipiranju, artikulaciji, organizaciji, izvođenju, kolekcioniranju, arhiviranju, dokumentiranju, predstavljanju i promociji koncepcija umjetnosti, kulture i politike, umjetničkog rada, svijeta umjetnosti i povijesti umjetnosti kroz kulturalne institucije i masovne medije". 1 za neke je kustos/ica službenik/ica umjetnosti/umjetnika, katalizator/ica, medijator/ica, kritičar/ ka, po drugima povjesničar/ka umjetnosti, krijumčar/ka, teoretičar/ka, aktivist/ica, menadžer/ ica, kulturalni/a radnik/ica. sve u jednom. svi ti denominatori istovremeno opisuju kontradikcije, potencijale i paradokse prakse. no, bez obzira na to koji termin upotrebljavali, odgovornost i otprije definiran zadatak isti su, a to je odabrati "što će kao (umjetničko djelo) izdržati test vremena, te kako će se na taj rezidij gledati". Drugim riječima, prenositi kulturu odnosno "niz interpretacija i značenja te značenjskih horizonata, a ne znanje o nekoj skupini "neutralnih predmeta" na kojima je moguće daljnje neograničeno, otvoreno istraživanje." 2 presjek kustoske emancipacije kustoska profesija ponajviše se profesionalizirala kasnih šezdesetih godina sukladno s porastom radikalnih i inovativnih umjetničkih i kritičkih praksi nastalih 60-ih i 70-ih koje su inicirale alternativan način umjetničke produkcije, redefiniciju umjetničkog djela, mijenjanje umjetničkih koncepcija te preispitivanje institucionalnih prostora. jedna od važnijih promjena koje je terminological clarification curatorial profession is a very f lexible cultural practice. What we can define as "fixed" within that practice is the fact that it deals with artistic practices; moreover, it is inscribed in what is commonly known as the art system, which is a part of the cultural and social field. according to Šuvaković, "curatorial practices are those theoretical and practical activities of creation, mediation, and administration that contribute to the conception, articulation, organization, performance, collection, archivation, documentation, presentation, and promotion of various concepts of art, culture, and politics, artistic work, art world, and art history, through cultural institutions and the mass media." 1 for some, the curator is a servant of art/artists, a catalyser, mediator, and critic, while according to others he or she is an art historian, smuggler, theoretician, activist, manager, and cultural worker. all in one person. all these denominators describe contradictions, potentials, and paradoxes of this practice. but regardless of the term we use, the responsibilities and the preset tasks remain the same, including the answering of questions such as "what will (as an artwork) stand the test of time and how that residue will be looked upon." in other words, the curator's task is to transmit culture, seen as "a set of interpretations and meaning and meaning horizons-not just a set of 'neutral objects' on which open enquiry is then somehow possible." 2 a cross-section of curatorial emancipation

Canyon Cinema Foundation is a 501(c)(3) nonprofit organization. Founded in Bruce Baillie's Canyon, California backyard in 1961, Canyon Cinema is dedicated to educating the public about independent, noncommercial, experimental moving image art. We manifest this commitment by providing access to our unrivaled collection to universities and cultural organizations worldwide, as well as cultivating scholarship and appreciation of artist-made cinema.

This study explores Marcel Duchamp’s notions of war and masculinity, first by dealing with Duchamp’s early machine drawings produced before and after the outbreak of the First World War and then by concentrating on his portraits produced during 1915 and 1919, a period when he was in exile. Focusing on Duchamp’s portraits as being disguised as a monk as well as on his assisted readymade (1919), the study looks at how Duchamp deliberately complicated masculine sexualities and gender distinctions. While in exile, Duchamp, one of the best-known members of the New York Dada movement, created a number of portraits in which he appeared to be bald. His hairstyle with the mark of five stars in the back, according to Giovanni Zapperi, the author of “Marcel Duchamp’s Tonsure: Towards an Alternate Masculinity” (2007), points to the common practice of cutting the hair from the top of monks’ heads (tonsure) during the early part of the 20th century. Religious motifs can frequently be found in Duchamp’s other works, yet, as I argue, transforming himself into an image of a celibate monk might have other implications related to his ideas of war and masculinity. Duchamp’s self-portrait as a monk reflects the artist’s desire to distinguish himself from war-mongering European men at the time of the First World War. The purpose of this study, however, is not merely to contrast Duchamp’s “ambiguous” masculinity with the dominant forms of aggressive masculinity that coincided with the fanatical nationalism of the First World War. Contradictory interpretations of masculinity, as seen in war posters, psychoanalytic studies, literary descriptions of manhood on the warfront, and images of veterans will also be discussed to illustrate shifting perceptions of masculinity that were already evolving in the 1910s. The study of Duchamp’s years in New York and Buenos Aires enables us to underscore the continuation of his artistic endeavors throughout his exile period, including his search for open and unfixed artistic identities and masculinities. More importantly, the series of portraits he created during his exile, in their complication of ideas of proper masculinity, may be seen as paving a path toward “Rrose Selavy” his most notorious and important project engaging issues of gender ambiguity, which he began in 1921 while collaborating with Man Ray.

Susannah Ramsay’s Experiencing the Filmpoem: A Film-Phenomenological Inquiry presents five short experimental films which evoke multi-sensorial experiences for the viewer through visceral combinations of lens manipulation, camera movement and rhythmic editing. For Ramsay, filmpoems are a synthesis of these experimental techniques with poetic narration and soundscapes which constitute a deeply personal, expressive form of filmmaking. Her written statement contextualises this practice with historical insights and outlines her exhibition strategies for the work which aim to produce a reciprocal relationship between the artwork, the screening space and the viewer to provide an embodied experience.

Andreas­Broeckmann:­Jean-Louis­Boissier,­you­were­involved­in­Les Immatériaux both as an artist who was responsible for one of the installations,­Le Bus,­and­as­a­scientific­advisor­on­electronic­and­digital­ images.­While­the­three­main­people­involved­in­the­project­–­Thierry­ Chaput,­Philippe­Délis,­and­of­course­Jean-François­Lyotard­–­are­no­ longer­alive,­several­people­who­worked­on­Les Immatériaux,­like­yourself,­ still­keep­their­memories­and­personal­archives.­The­published­documentation of Les Immatériaux­has­remained,­up­until­today,­quite­ incomplete,­and­there­seems­to­have­been­no­systematic­documentation­ of­this­important­show.­This­facts­stands­in­a­strange­contrast­to­the­ unquestioned­historical­significance­of­the­project­–­perhaps­even­more­ so­today,­than­30­years­ago?­Do­you­think­there­was­an­awareness­of­the­ importance­of­the­show­at­the­time?

This thesis presents a systematic investigation of the moving image works of Apichatpong Weerasethakul, concentrating on the contemplative and non-representational dimensions of his creative practice. Apichatpong's practice operates in the space between transnational art cinema and contemporary art and draws from a wide range of creative and conceptual influences from Theravada Buddhism to postwar American experimental filmmaking and contemporary 'slow cinema,' often diverging from conventional expectations of narrative cinema to dwell in moments of emptiness, contemplation and dead time. In this thesis, I trace these influences through Apichatpong's feature films, short films and installations the formal appearances of stillness, silence and extended duration, and reflect upon the broader political and phenomenological implications of these empty moments. Rather than understand emptiness as an incidental feature of his creative practice, I argue that emptiness is integral to Apichatpong's understanding of film form and the world. Through this investigation, I argue that Apichatpong's idiosyncratic film practice challenges many of the basic structures of conventional film form and spectatorship by orienting away from narrative logics of cinematic meaning to instead sensitise spectators to other ways of being in and experiencing the world.

In this paper I set out to present a series of categories for artists working with and about Artificial Intelligence [AI]. My approach is more observational than rigidly taxonomic. Having the opportunity to curate a substantial exhibition on this topic, I undertook a year long program of research which encompassed and extended into lengthy conversations with many artists working internationally in the field. This culminated in the exhibition "Future Intelligence" at Tank Museum, Shanghai, 13 December 2019 to 5 January 2020. A number of distinct themes and sub-themes became apparent through this research: Aesthetic and Philosophical, Representation, Identity and Self Awareness, AI and A-life, and Interpretation and Narrative are the major themes. As one would expect, many of the artists and their works explore multiple themes. Additionally, as with all media art practice, artists utilise a large range of diverse approaches to the application of interfaces for audience engagement and interaction, hence I have briefly examined these structurally but not within the thematics. I make specific reference to many, but not all of the artworks that featured in the exhibition as well as a number of other artists and artworks. The paper also presents somewhat of a limited survey of current international practice over the last three years, without attempting to be exhaustive. A more exhaustive list of artists working with AI can be found at AIArtists.org; the global directory of artists working in this field [1].

This book examines contemporary artistic practices since 1990 that engage with, depict, and conceptualize history. Examining artworks by Kader Attia, Yael Bartana, Zarina Bhimji, Michael Blum, Matthew Buckingham, Tacita Dean, Harun Farocki and Andrei Ujica, Omer Fast, Andrea Geyer, Liam Gillick and Philippe Parreno, Hiwa K, Amar Kanwar, Bouchra Khalili, Deimantas Narkevičius, Wendelien van Oldenborgh, Walid Raad, Dierk Schmidt, Erika Tan, and Apichatpong Weerasethakul, Art, History, and Anachronic Interventions since 1990 undertakes a thorough methodological reexamination of the contribution of art to history writing and to its theoretical foundations. The analytical instrument of anachrony comes to the fore as an experimental method, as will (para)fiction, counterfactual history, testimonies, ghosts and spectres of the past, utopia, and the "juridification" of history. Eva Kernbauer argues that contemporary art—developing its own conceptual approaches to temporality and to historical research—offers fruitful strategies for creating historical consciousness and perspectives for political agency. The book will be of interest to scholars working in art history, historiography, and contemporary art.

online here: https://www.taylorfrancis.com/books/oa-mono/10.4324/9781003166412/art-history-anachronic-interventions-since-1990-eva-kernbauer and here: https://library.oapen.org/handle/20.500.12657/50518

In this paper I set out to present a series of categories for artists working with and about Artificial Intelligence [AI]. My approach is more observational than rigidly taxonomic. Having the opportunity to curate a substantial exhibition on this topic, I undertook a year long program of research which encompassed and extended into lengthy conversations with many artists working internationally in the field. This culminated in the exhibition "Future Intelligence" at Tank Museum, Shanghai, 13 December 2019 to 5 January 2020. A number of distinct themes and sub-themes became apparent through this research: Aesthetic and Philosophical, Representation, Identity and Self Awareness, AI and A-life, and Interpretation and Narrative are the major themes. As one would expect, many of the artists and their works explore multiple themes. Additionally, as with all media art practice, artists utilise a large range of diverse approaches to the application of interfaces for audience engagement and interaction, hence I have briefly examined these structurally but not within the thematics. I make specific reference to many, but not all of the artworks that featured in the exhibition as well as a number of other artists and artworks. The paper also presents somewhat of a limited survey of current international practice over the last three years, without attempting to be exhaustive. A more exhaustive list of artists working with AI can be found at AIArtists.org; the global directory of artists working in this field [1].

The films of Thai New Wave auteur Apichatpong Weerasethakul have cut across continents and language barriers, hovered through international festival circuits and, now, streaming platforms (albeit still notoriously difficult to find), to transfix viewers with their hypnotic rhythms and experimental narrative structures. Drawing from phenomenological frameworks, I approach two of Weerasethakul’s works — first the more active, effervescent body of film in his debut feature Mysterious Object at Noon (2000), then the somnambulist body which guides Uncle Boonmee Who Can Recall His Past Lives (2010) — through a sensuous reading that foregrounds these films as ghostly entities. I explore the notion of the film’s body and the viewer’s body sharing a partial, ephemeral touch as a kind of limit test for theorizations of film phenomenology. Focusing on the motif of the journey, and the films’ concerns of memory, loss, and retrieval, I suggest that the viewer’s and the film’s perceptions and expressions co-constitute an alternative, embodied experience of time.

Credo: Husserl's epoché (suspending judgment on things) Aesthetics: From Minimalism to the Accidently Aesthetic Video Pool Media Arts Centre is one of Winnipeg's cult organizations (site of cultural pilgrimage for the informed). The creation of Video Pool was seen as a means of solving two essential problems of artists dealing with new media: access to technology (as means of production) and means for distribution. Even the name, Video Pool, according to the founders, had socialist connotations. Therefore, Video Pool has since its foundation in 1983 fostered the production and dissemination of media arts. Soon followed the need for exhibition, education and research. Its past three decades of activities have proved beyond doubt Video Pool's relevance and recognition amongst the like-minded as well as the broader community. Located at Artspace (Gault Building) since 1996, alongside other art venues, Video Pool was one of the first not-for-profit incorporated associations ...

Tickets: £5 (£4 concs.) Natasha Demkina is known internationally as The Girl with X-ray Eyes. A Russian medical student, she is purported to have the ability to look directly inside bodies. Using a form of supplementary vision or second sight, she produces detailed medical diagnoses. Last summer, artist Phillip Warnell went to Moscow and offered up his own body as the subject for Natasha's scrutiny before a series of witnesses. The resulting 23 minute artist's film reveals his extraordinary encounter with The Girl with X-ray Eyes. It will be screened at Warwick Arts Centre this May then at London 's BFI Southbank in June.

Twenty-eight Artists from each EU country as well as three Chinese artists were invited by Qu Art to visit the world renowned Terracotta Warriors in Xian, China and to consider ways that these icons of the Emperor Qin's reign could be reinterpreted within popular culture of the 21st Century. Each artist responded to the collection of warriors, acrobats and servants in a myriad of different ways, and in so doing reflected a discreet aspect of their own individual culture within the EU by making a sculpture that responded to this ancient collection. LUiL in conjunction with Here East, was the only venue for this seminal exhibition in the UK, and although this Group Show has been exhibited throughout China at a number of Tier One museums and galleries in order to widen the appreciation of European contemporary art practice to an audience that might not be familiar with the nuances of Western Art. These new audiences, familiar with the cultural significance of their own "Terrac...