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As the cinematic experience becomes subsumed into today's
ubiquitous technologies of seeing, contemporary artworks lift the
cinematic out of the immateriality of the film screen and separate
it into its physical components within the gallery space. How to
read these reformulations of the cinematic medium - and their
critique of what it is and has been? In Theorizing Cinema Through
Contemporary Art: Expanding Cinema, leading film theorists consider
artworks that incorporate, restage, and re-present cinema's
configuration of the key categories of space, experience,
presence/absence, production and consumption, technology, myth,
perception, event, and temporality, so interrogating the creation,
appraisal, and evolution of film theory as channeled through
contemporary art. This book takes film theory as a blueprint for
the moving image, and juxtaposes it with artworks that render
cinema as a material object. In the process, it unfolds a complex
relationship between a theory and a practice that have commonly
been seen as virtually incompatible, renewing our understanding of
each and, more to the point, their interactions.
The work originally conceived by the artist couple Hubbard /
Birchler for the Swiss Pavilion at the 2017 Venice Biennale
re-constructs the life story of the American artist Flora Mayo.
Mayo had a romantic relationship in the 1920s with the Swiss
sculptor Alberto Giacometti. While he is now one of the most famous
artists of the twentieth century, her work was de-stroyed, and her
life forgotten. Hubbard / Birchler reanimate Mayo's compelling
biography from a feminist perspective, combining reconstruction and
documentation to create a multilayered form of narrative. The
catalogue, produced for the current exhibition at the Sammlung
Goetz, elucidates the research the artists engaged in and documents
the installa-tion in an impressive manner
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