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Darkened Rooms: A Genealogy of Avant-Garde Filmstrips from Man Ray to the London Film-Makers' Co-op and Back Again

Darkened Rooms: A Genealogy of Avant-Garde Filmstrips from Man Ray to the London Film-Makers'... Malcolm Le Grice. Little Dog for Roger, 1967. Film strip. Darkened Rooms: A Genealogy of Avant-Garde Filmstrips from Man Ray to the London Film-Makers’ Co-op and Back Again NOAM M. ELCOTT The cinema? Three cheers for darkened rooms. —André Breton, Manifesto of Surrealism (1924) I. We are witnessing the reconfiguration of twentieth-century art history as a dark passage illuminated by intermittent projections. Most notably in “Le mouvement des images” (2006), a survey exhibition at the Centre Pompidou, paintings, sculptures, and other material objets d’art were relegated to side galleries grouped under cinematic rubrics. The spine of the exhibition was a darkened corridor with looped digital projections of films that traced a cinematic history of twentiethcentury art: Richard Serra and Paul Sharits, Joseph Cornell and Marcel Broodthaers, László Moholy-Nagy and Man Ray.1 In each instance, the investment in cinema exceeded the production of films and was augmented by a range of works in adjacent galleries. There unfolded an “immaterial” passageway surrounded by material relics. Nowhere did the division between immaterial projection and material object congeal more strikingly than around a single wall on which was projected Man Ray’s Retour à la raison (1923) and behind which several meters of http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Grey Room MIT Press

Darkened Rooms: A Genealogy of Avant-Garde Filmstrips from Man Ray to the London Film-Makers' Co-op and Back Again

Elcott, Noam M.
Grey Room , Volume Winter 2008 (24) – Jan 1, 2008
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32 pages

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Publisher
MIT Press
Copyright
© 2008 by Grey Room, Inc. and the Massachusetts Institute of Technology.
ISSN
1526-3819
eISSN
1536-0105
DOI
10.1162/grey.2008.1.30.6
Publisher site
See Article on Publisher Site

Abstract

Malcolm Le Grice. Little Dog for Roger, 1967. Film strip. Darkened Rooms: A Genealogy of Avant-Garde Filmstrips from Man Ray to the London Film-Makers’ Co-op and Back Again NOAM M. ELCOTT The cinema? Three cheers for darkened rooms. —André Breton, Manifesto of Surrealism (1924) I. We are witnessing the reconfiguration of twentieth-century art history as a dark passage illuminated by intermittent projections. Most notably in “Le mouvement des images” (2006), a survey exhibition at the Centre Pompidou, paintings, sculptures, and other material objets d’art were relegated to side galleries grouped under cinematic rubrics. The spine of the exhibition was a darkened corridor with looped digital projections of films that traced a cinematic history of twentiethcentury art: Richard Serra and Paul Sharits, Joseph Cornell and Marcel Broodthaers, László Moholy-Nagy and Man Ray.1 In each instance, the investment in cinema exceeded the production of films and was augmented by a range of works in adjacent galleries. There unfolded an “immaterial” passageway surrounded by material relics. Nowhere did the division between immaterial projection and material object congeal more strikingly than around a single wall on which was projected Man Ray’s Retour à la raison (1923) and behind which several meters of

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Grey Room – MIT Press

Published: Jan 1, 2008

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