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Transforming Time

Transforming Time Jean-Luc Godard. Voyage(s) en utopie, Jean-Luc Godard, 1946–2006. Installation view of the “Aujourd’hui” section. Centre Pompidou, Paris, 2006. 24 Transforming Time SVEN LÜTTICKEN In the 1990s, art seemed to rewrite its history, or double it, through constant reference to the history and conventions of the cinema.1 Not only did young artists working both with film and with video explore various aspects of the cinematic. Veteran auteurs such as Chris Marker, Jean-Luc Godard, Chantal Akerman, and Harun Farocki were also increasingly making gallery installations, discovering the museum as an alternative venue for a form of exhibited cinema that dissects, disassembles, and reassembles film—a space of montage dependent to a large extent on developments in video and DVD technology that allowed for an unprecedented degree of control over moving images. At the same time, marginalized film practices by visual artists from the 1960s were being rediscovered: Warhol’s film works were increasingly screened in exhibition spaces, and artists such as Paul Sharits and Tony Conrad were at long last revalued. This development went hand in hand with the emergence of the first serious and extensive studies of time in the art of the 1960s, including Pamela M. Lee’s Chronophobia , which http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Grey Room MIT Press

Transforming Time

Lütticken, Sven
Grey Room , Volume Fall 2010 (41) – Oct 1, 2010
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Publisher
MIT Press
Copyright
© 2010 by Grey Room, Inc. and the Massachusetts Institute of Technology.
ISSN
1526-3819
eISSN
1536-0105
DOI
10.1162/GREY_a_00009
Publisher site
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Abstract

Jean-Luc Godard. Voyage(s) en utopie, Jean-Luc Godard, 1946–2006. Installation view of the “Aujourd’hui” section. Centre Pompidou, Paris, 2006. 24 Transforming Time SVEN LÜTTICKEN In the 1990s, art seemed to rewrite its history, or double it, through constant reference to the history and conventions of the cinema.1 Not only did young artists working both with film and with video explore various aspects of the cinematic. Veteran auteurs such as Chris Marker, Jean-Luc Godard, Chantal Akerman, and Harun Farocki were also increasingly making gallery installations, discovering the museum as an alternative venue for a form of exhibited cinema that dissects, disassembles, and reassembles film—a space of montage dependent to a large extent on developments in video and DVD technology that allowed for an unprecedented degree of control over moving images. At the same time, marginalized film practices by visual artists from the 1960s were being rediscovered: Warhol’s film works were increasingly screened in exhibition spaces, and artists such as Paul Sharits and Tony Conrad were at long last revalued. This development went hand in hand with the emergence of the first serious and extensive studies of time in the art of the 1960s, including Pamela M. Lee’s Chronophobia , which

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Grey Room – MIT Press

Published: Oct 1, 2010

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