Alguns links na sequência da aula de hoje:

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Hito Steyerl – How Not to be Seen: A Fucking Didactic Educational .MOV File, 2013

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Gilles Deleuze – Sociedade de Controlo

Extrait de la conférence donnée dans le cadre des “Mardis de la Fondation” le 17 Mars 1987…

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Tacita Dean – FILM | Tate (2011)

Tacita Dean toke up the challenge of filling Tate Modern’s Turbine Hall. in 2011. Her response, entitled ‘FILM’, is a silent 35mm looped film projected onto a monolith standing 13 metres tall. FILM is an 11-minute silent 35 mm film projected onto a gigantic white monolith standing 13 metres tall at the end of a darkened Turbine Hall.

It was the first work in The Unilever Series devoted to the moving image, and celebrates the masterful techniques of analogue filmmaking as opposed to digital. The work evokes the monumental mysterious black monolith from the classic science fiction film 2001: A Space Odyssey. The film feels like a surreal visual poem, including images from the natural world among others, with the epic wall of the Turbine Hall showing through, in a montage of black and white, colour, and hand-tinted film.

Tacita Dean is a British artist now based in Berlin, best known for her use of film. Dean’s films act as portraits or depictions rather than conventional cinematic storytelling, capturing fleeting natural light or subtle shifts in movement. Her static camera positions and long takes allow events to unfold unhurriedly. Other works have attempted to reconstruct events from memory, such as an infamous thwarted attempt to circumnavigate the world.

Dean’s interest in the cinematic also extends to her work in other media. The Russian Ending 2001 borrows its title from the early Danish cinema tradition of making two alternate endings for a film: one happy for the American market and one tragic for the Russian market. In this work, Dean annotated postcards of catastrophes with director’s notes.

Many of Dean’s works show the ways in which architecture can be transformed by the camera’s lens. Craneway Event 2009 follows the choreographer Merce Cunningham (1919–2009) and his dance company rehearsing in a former Ford assembly plant, built of glass and steel and overlooking the San Francisco Bay. Dean’s film allows the ever-changing light of this environment to fall in rhythm with the dancers’ movements.

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Rosalind Krauss sobre o trabalho de Tacita Dean (2011)

Uma talk de Rosalind Krauss sobre o trabalho de Tacita Dean, cruzando de certa forma os tópicos das duas aulas anteriores (Cinemática e obsolescência)
British artist Tacita Dean created a filmwork for Tate Modern’s Turbine Hall. FILM is an experimental response to the architecture of the space and a portrait of the medium itself.
Rosalind E. Krauss discusses Tacita Dean’s work FILM 2011, in relation to her ongoing championing of medium specificity.
Rosalind E Krauss, editor and cofounder of October magazine, is University Professor at Columbia University. She is the author of The Originality of the Avant-Garde and Other Modernist Myths, The Optical Unconscious, Bachelors, and Perpetual Inventory. Her latest book, Under Blue Cup (2011), explores the relation of aesthetic mediums to memory. This event is related to the 2011 exhibition The Unilever Series: Tacita Dean: FILM

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One week, de Buster Keaton

“One Week” (1920), Dir. by Eddie Cline e Buster Keaton


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Richard Serra’s Gutter Corner Splash: Night Shift

Richard Serra
This video documents the installation of Richard Serra’s Gutter Corner Splash: Night Shift (1969/1995) inside SFMOMA.

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Batia Suter


001DBPPParallel Encyclopedia #2 Extended’ / 2018 / Inkjet on Digiwall, nails / Installation views

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On Kawara—Silence (2015)


Three curators discuss the art of On Kawara and the exhibition On Kawara—Silence at the Solomon R. Guggenheim Museum, New York, which includes every category of work the artist created between 1963 and 2014.

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HO (Ivan Cardoso, 1979)

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