工厂是博物馆吗?

IF 0.3 0 FILM, RADIO, TELEVISION
T. Elsaesser
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引用次数: 1

摘要

我读了Hito Steyerl的文章《博物馆是工厂吗?》饶有兴趣地问。这不仅是因为她引用了我的话,并以一种最得体的方式(尽管如此,她还是没有弄错)表达了她对我言论的怀疑,还因为她触及了我思考了一段时间的话题,这些话题与更广泛的受众相关。“博物馆是工厂吗?”,可以总结如下:现在,因为越来越多的工厂正在被改造成博物馆,是时候问一下这两个看似截然相反的机构有什么共同之处,使得它们如此容易地从一个过渡到另一个。如果是这样的话,这种转变对(a)艺术和社会中的生产概念,(b)空间和时间的经验,(c)大众和个人的关系,以及(d)人类感官和身体的格式或编程有什么影响?所有这些都集中在社会承诺电影和政治电影的命运问题上,这些电影曾经也在工厂放映,现在作为博物馆、展览和画廊的装置艺术,引领着一种混合和冲突的存在。这里不能详细讨论紧张的领域,所以让我试着扩展Hito Steyerl的文章,包括一个更深入的论点:曾经人们是这样做的
本文章由计算机程序翻译,如有差异,请以英文原文为准。
Is a Factory a Museum?
I read Hito Steyerl’s essay “Is a Museum a Factory?” with great interest. Not only because she quotes me and announces in the most aff able—if nonetheless unmistakable—way her doubts about my remarks, but because she touches on subjects I have been thinking about for some time and that are relevant for a broader audience. Th e basic argument of “Is a Museum a Factory?” could be summed up as follows: Now, because more and more factories are being converted into museums, it is about time to ask what these two seemingly diametrically opposed institutions have in common that makes it so easy to transition from one to the other. And if that is the case, what consequences does this transition have for (a) the concept of production in art and society, (b) the experience of space and time, (c) the relationship of the masses and the individual, and, fi nally—here I add my own point—(d) the formatting or programming of the human senses and body? All of this is focused on the question of the fate of the socially committed fi lm and political cinema that once was shown in factories as well and now leads a hybrid and confl icted existence as installation art in museums, exhibitions, and galleries. Th e areas of tension cannot be discussed in detail here, so let me just try and extend Hito Steyerl’s essay to include a further thesis: At one time people did
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