Best known for using light and sound to create immersive, interactive environments, Dominique Gonzalez-Foerster is the ninth artist to be invited to transform the massive space of the Turbine Hall in Tate Modern with a visionary project of her own. Born in Strasbourg in 1965, Gonzalez-Foerster came to public attention in the mid-1990s as part of a generation of French artists that includes Pierre Huyghe and Phillipe Parreno. Her critically acclaimed piece Seance de Shadows was displayed in Tate Modern's The World as a Stage exhibition in 2007. Her recent work focuses on creating otherworldly environments and often incorporates film to depict scenes of urban life in cities around the world. Her work Riyo was shot on the riverbank of Kyoto, Japan, and shown recently at Expodrome in Paris. With dramatic installation photography and an insightful text, this exciting book follows the artist's newest project at Tate Modern from start to sensational finish.
A lavishly illustrated book on the acclaimed visual artist, videographer, and filmmaker Dominique Gonzalez-Foerster, whose exceptionally diverse body of work explores her haunting visions of the past, present, and future. Dominique Gonzalez-Foerster calls herself "a prisoner of literature." Through her work in spatial installations, video projection, and "apparitions" (performances), she has indeed told remarkable stories using unique and incredibly diverse methods. This book features a new work by the artist--a labyrinth of staged rooms constructed to send viewers on a visceral journey through time and through cinematography, literature, and science. Like much of her work, this piece draws on the artist's own life. The book also offers an overview of Gonzalez-Foerster's astonishing career: from her massive exhibit at the Tate Modern's Turbine Hall, in which she installed replicas of iconic sculptural works, bunk beds, and a science fiction film, to the book-populated habitats she constructed at the Hispanic Society of America. Perceptive essays by leading art critics discuss Gonzalez-Foerster's use of cinema, literature, architecture, and music as a means of self-exploration and expression. The result is a magnificent and deeply personal overview of an artist grappling with time, literature, narrative, and identity.
This is the first book to explore the relationship between experimental theatre and performance making in France. Reflecting the recent return to aesthetics and politics in French theory, it focuses on how a variety of theatre and performance practitioners use their art work to contest reality as it is currently configured in France.
Since the 1927 release of Fritz Lang’s pioneer film Metropolis, science fiction cinema has largely been regarded a Western genre. In Simultaneous Worlds, Jennifer L. Feeley and Sarah Ann Wells showcase authors who challenge this notion by focusing on cinemas and cultures, from Cuba to North Korea, not traditionally associated with science fiction. This collection introduces films about a metal-eating monster who helps peasants overthrow an exploitative court, an inflatable sex doll who comes to life, a desert planet where matchsticks are more valuable than money, and more. Simultaneous Worlds is the first volume to bring a transnational, interdisciplinary lens to science fiction cinema. Encountering some of the best emerging and established voices in the field, readers will become immersed in discussions of well-known works such as the Ghost in the Shell franchise and Neill Blomkamp’s District 9 alongside lesser-known but equally fascinating works by African, Asian, European, and South American filmmakers. Divided into five parts that cover theoretical concerns such as new media economies, translation, the Global South, cyborgs, and socialist and postsocialist cinema, these essays trace cinema’s role in imagining global communities and power struggles. Considering both individual films and the broader networks of production, distribution, and exhibition, Simultaneous Worlds illustrates how film industries across the globe take part in visualizing the perils of globalization and technological modernity. Ultimately, this book opens new ways of thinking about world cinema and our understanding of the world at large.
In Against Transmission Barker rethinks the history of audio-visual media as a history of analytical instruments. Rather than viewing media history as the commonly told story of synthetic media (media that make a new whole from connecting separate parts), by focusing on the analytical function of mediation Against Transmission is able to focus on the way that media that have historically been used to count, measure and analyse experience still continue to provide the condition for contemporary life. By studying the engineering of transmission, transduction and storage through the prism of process philosophy, the book interrogates how the understanding of media-as-machine may offer new ways to describe a particular phenomenological relationship to the world, asking: what can the hardware of machines that segment information into very small elements tell us about experiences of time, memory and history? This book investigates the technical architecture of media such as television, computers, cameras, and cinematography. It achieves this through in-depth archive research into the history of the development of media technology, including innovative readings of key concepts from philosophers of media such as Harold A. Innis, Marshall McLuhan, Friedrich Kittler, Siegfried Zielinski and Wolfgang Ernst. Teaming philosophical inquiry with thorough technical and historical analysis, in a broad range of international case studies, from early experimental cinema and television to contemporary media art and innovative hardware developments, Barker shows how the technical discoveries made in these contexts have engineered the experiences of time in contemporary media culture.
In the face of unparalleled growth and a truly global audience, the popularity of contemporary art has clearly become a double-edged affair. Today, an unprecedented number of museums, galleries, biennial-style exhibitions, and art fairs display new work in all its variety, while art schools continue to inject fresh talent onto the scene at an accelerated rate. In the process, however, contemporary art has become deeply embedded not only in an expanding art industry, but also the larger cultures of fashion and entertainment. Buskirk argues that understanding the dynamics of art itself cannot be separated from the business of presenting art to the public. As strategies of institutional critique have given way to various forms of collaboration or accommodation, both art and museum conventions have been profoundly altered by their ongoing relationship. The escalating market for contemporary art is another driving force. Even as art remains an idealized activity, it is also understood as a profession, and in increasingly obvious ways a business, particularly as practiced by star artists who preside over branded art product lines.
Looking at display, images of contemporary art in London galleries reproduces seventy-four installation views of exhibitions photographed for fifty of London's contemporary art galleries. Showing works from an impressive list of international artists exhibiting in London, Looking at display catalogues a range of contemporary practices as well as installation methods and contributes an informed critical understanding of relations between them.