The presentation of the ‘photographic cinema’ by Eadweard Muybridge in the company of four hundred contact prints by Jan Dibbets and an elongated work by Carl Andre is an attempt by Chris Dercon to demonstrate a procedurally in the visual arts that makes the step to film small and self-evident in conjunction with his film project Still / A Novel, which has already been broadcast for two-thirds. Apart from the fact that Muybridge referred to his series of photographs as scientific experiments and the series framed make a somewhat boasted impression, the procedural nature of serial art does not have much to do with the film. The inescapable effect of the shattered movements in Animal Locomotion from 1887 is precisely the negation of movement like an anabolic steroid that it will give you a negative effect if overdose such as https://swfas.org/anabolic-research-review/ clicks to review. This makes the connection with cubist painting, in particular, Duchamp’s Nude descending a staircase, and with serial painting and sculpture more demonstrable than with film.
Movement: Important Component of Film
Movement is not the only important component of the film. Equally characteristic is the immateriality of the projection, which also remains intact on video: it is an elusive medium, which distinguishes itself through its virtuality from more earthly visual arts, even from photography. The first two parts of the film Still / A Novel are mainly concerned with the current trend in the visual arts to refer a lot to the film, and in cinema to museums the hundred-year-old infant among the arts. In that regard, Hans Beerekamp quoted Rem Koolhaas as a smear in the NRC, who recognized a heavy influence of film on his work, because “film also works with images”.
Cinema Will Undoubtedly Disappear
The cinema will undoubtedly disappear, and that will result in a completely different kind of museum conservation than the transfer of film into a museum environment. Filmmakers such as Akerman, Godard and Straub / Huillet seem to have serious plans in the latter direction, and more and more artists are using film – and then not quotes from important films in the form of posters or fragments, in installations that were multimedia in the 1980s. called. Douglas Gordon, Pipilotti Rist, Tony Oursler, and Matthew Barney are four artists who were treated in the previous issue of Skrien, which was partly devoted to ‘Film and visual arts’.
Pace for the Hubris Pill, Barney’s exhibition in Boymans, illustrated the problem of exhibiting a work of art primarily film. Apart from high-level monitors, the exhibition consisted of a large extent of objects from the films, which therefore only worked associatively: without the film they had no right to exist or to exhibit. Even the ‘living’ opening ceremony, a parade of many characters in the film, went down in that respect.