Moving Image Review and Art Journal最新文献

‘The length of a wave’ ([2000] 2023) 《波的长度》([2000]2023)

Moving Image Review and Art Journal Pub Date : 2023-04-01 DOI: 10.1386/miraj_00107_1

Maria Walsh

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Countering colonial nostalgia and heroic masculinity in the age of accelerated climate change: The Arctic artworks of Katja Aglert and Isaac Julien 在气候变化加速的时代对抗殖民怀旧和英雄气概:Katja Aglert和Isaac Julien的北极艺术作品

Moving Image Review and Art Journal Pub Date : 2023-04-01 DOI: 10.1386/miraj_00103_1

Lisa E. Bloom

{"title":"Countering colonial nostalgia and heroic masculinity in the age of accelerated climate change: The Arctic artworks of Katja Aglert and Isaac Julien","authors":"Lisa E. Bloom","doi":"10.1386/miraj_00103_1","DOIUrl":"https://doi.org/10.1386/miraj_00103_1","url":null,"abstract":"This article explores two screen-based artworks: Katja Aglert’s Winter Event – Antifreeze (2009–18) and Isaac Julien’s True North (2004) respectively, that exemplify diverse viewpoints contesting the essentialized identities of the Arctic past. These artworks recover the histories of women, the Inuit and African American men’s involvement in polar exploration, reimagining heroic narratives from historically excluded or ignored perspectives. By employing irony and humour, these artworks expand our understanding of how media-based art can respond to the ironies of a warming planet and challenge colonial nostalgia for White male heroism. The artworks traverse not just the human imperialism of the colonial era but also the newer imperialism in the age of the Anthropocene and the Capitalocene, decentring the mythic and exotic qualities of expedition narratives. Ultimately, the irreverent artwork encourages us to rethink an aesthetics of the distanced sublime from Romantic aesthetics and its roots in European Universalism, promoting a more inclusive and intersectional approach to the Arctic and its representation.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776379","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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‘Not shying away from contradictions, emotional impurity and nuanced debate is where contemporary art is best positioned to be artivism’: Interview with Pam Skelton “不回避矛盾、情感的不纯和微妙的争论是当代艺术成为艺术主义的最佳定位。”——采访帕姆·斯凯尔顿

Moving Image Review and Art Journal Pub Date : 2023-04-01 DOI: 10.1386/miraj_00106_1

Pam Skelton, Iliyana Nedkova

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Landscape and the Moving Image, Catherine Elwes (2022) 《风景与动态影像》，凯瑟琳·埃尔维斯(Catherine Elwes)， 2022年出版

Moving Image Review and Art Journal Pub Date : 2023-04-01 DOI: 10.1386/miraj_00113_5

Edwina fitzPatrick

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Patriarchs, Nira Pereg, curated by James Clegg and Show Me the World Mister, Ayo Akingbade, curated by Carmen Juliá and Olivia Aherne 族长Nira Pereg，由James Clegg策划，Show Me the World先生，Ayo Akingbade，由Carmen juli<e:1>和Olivia Aherne策划

Moving Image Review and Art Journal Pub Date : 2023-04-01 DOI: 10.1386/miraj_00110_5

Laura Harris

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Fly me to the moon…extra-terrestrial projections in artists’ film and video1 带我飞向月球艺术家的电影和录像中的外星投影

Moving Image Review and Art Journal Pub Date : 2023-04-01 DOI: 10.1386/miraj_00109_1

Catherine Elwes

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Becoming Margaret Raspé 成为玛格丽特·拉斯<e:1>

Moving Image Review and Art Journal Pub Date : 2023-04-01 DOI: 10.1386/miraj_00108_1

Mo Throp

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Defiant Muses: Delphine Seyrig and the Feminist Video Collectives of 1970s and 1980s France, curated by Nataša Petrešin-Bachelez and Giovanna Zapperi 挑衅的缪斯:戴尔芬·赛里格和20世纪70年代和80年代法国的女权主义录像集体，由Nataša Petrešin-Bachelez和Giovanna Zapperi策划

Moving Image Review and Art Journal Pub Date : 2023-04-01 DOI: 10.1386/miraj_00112_5

Denise Ackerl

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Film symbiosis: Embodied spectatorship and sensory (auto)ethnography in Lucien Castaing-Taylor and Ilisa Barbash’s Sweetgrass 电影共生:吕西安·卡斯坦-泰勒和伊丽莎·巴尔巴什的《甜草》中体现的观赏性和感官(自动)民族志

Moving Image Review and Art Journal Pub Date : 2023-04-01 DOI: 10.1386/miraj_00105_1

Dara Waldron

{"title":"Film symbiosis: Embodied spectatorship and sensory (auto)ethnography in Lucien Castaing-Taylor and Ilisa Barbash’s Sweetgrass","authors":"Dara Waldron","doi":"10.1386/miraj_00105_1","DOIUrl":"https://doi.org/10.1386/miraj_00105_1","url":null,"abstract":"This article explores the 2009 observational-ethnographic documentary film Sweetgrass by Lucien Castaing-Taylor and Ilisa Barbash. Focusing on visual cues within the observational form (a film that documents the herding of sheep across the Absaroka-Beartooth Mountains for the last time), the article draws on ethnographic and autoethnographic strains to explore the relationship between the embodied spectator and on-screen animal. Sweetgrass , in addition to several moving image works, is explored as sensory ethnography that incorporates a form of spectator address based on the idea of symbiosis. The article situates ‘the nonhuman stare’ as fundamental to this, drawing on the film phenomenology of Vivian Sobchak to consolidate this view. Sweetgrass , the article maintains, aestheticizes the non-human for specific reasons. It adds an ethical purpose to the observational documentation of herding sheep across the mountains – a salvage operation of type – and a sensory experience of ‘living with’ associated with the farming culture represented on-screen. In addition to exploring the film as a sensory object in this way, the article devises a methodology bringing autoethnographic research concerning symbiotic human–non-human animal relationships, in line with explorations of the embodied film spectator.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776384","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The allegorical re-presentation of colonial cinema in Sammy Baloji’s Pungulume (2016) 萨米·巴洛吉的《Pungulume》(2016)对殖民电影的寓言再现

Moving Image Review and Art Journal Pub Date : 2023-04-01 DOI: 10.1386/miraj_00104_1

Sanne Fleur Sinnige

{"title":"The allegorical re-presentation of colonial cinema in Sammy Baloji’s Pungulume (2016)","authors":"Sanne Fleur Sinnige","doi":"10.1386/miraj_00104_1","DOIUrl":"https://doi.org/10.1386/miraj_00104_1","url":null,"abstract":"This article analyses artist Sammy Baloji’s video installation Pungulume (2016) with a focus on its recycling of film clips extracted from an archival colonial film from 1912. Inspired by art historian Georges Didi-Huberman’s anachronic approach to art history, and through a sketch of the history and present-day social and political context in the Congolese Katanga region, this essay contends that these archival clips speak primarily about the present and contain a topical significance. As the author demonstrates, this topical significance can solely be assessed when the viewer is knowledgeable about current political and social debates taking place in the former Katanga province. Additionally, this present-day relevance of the archival film clips also exists in terms of the video installation’s reception – the archival film clips reflect dynamics occurring in the spaces in which the video installation was conceived and continues to be exhibited. Through this reading that ultimately causes the ‘re-presentation’ of the anachronic archival film clips (while acknowledging its indebtment to Congolese popular painting), the author recalls the necessity of considering the historical production context in scholarly analyses of artworks – even when artworks reuse archival documents that stem, for example, from colonial cinema.","PeriodicalId":36761,"journal":{"name":"Moving Image Review and Art Journal","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135776378","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0