Site Specific

Site Specific: Moving Images in the Cinema, the
White Cube, and Online

The present moment for exhibiting moving images
is a fluid one. Artists who may have
traditionally exhibited in a gallery are finding
their way into cinemas, while filmmakers are
finding new opportunities in the gallery or
"white cube" space. The default space for viewing
has shifted from the traditionally communal space
of a cinema to viewing works online. Moving image
work can now be thought of as site-specific; and
"cinema" is no longer a physical space, but a
distinct mode of attention.
Each kind of exhibition platform has its own
particular conditions that shape the production
of work and how viewers engage with it. For
artists developing their practice, one needs a
more engaged consideration of the contexts and
conditions in which the work will be screened or
exhibited. In this course students will gain a
knowledge and fluency in the theoretical and
practical aspects that define an ever-evolving
media exhibition environment.
What kinds of pressures come to bear on artworks
in such socially dynamic spaces and can they
maintain an original autonomy in definition and
intention in such a fluid environment?
We will take a critical look at some of the
antagonizing issues of politic, cultural and
social friction that exert themselves around
works made in social spaces such as the white
cube, cinema, online or public sites.
Through screenings, discussions with invited
artists, supported readings, as well as
presentations by curators, we will look at the
effects site has on the content and perception of
the moving image artwork. In one or more field
trips we will acquaint ourselves with the primary
experience how this affects the politic and
perception of a work.
During the first half of the course, students
will be introduced to the technical developments
and social history of moving-image exhibition
spaces that have defined and influenced reception
of the work.These space include galleries,
cinemas, the internet, as well as projection in
public spaces, broadcast television, and VR.
Discussions will be supplemented by readings
exploring relevant contemporary conceptual
issues. The second half of the course will focus
on practical issues facing students as artists
working with moving image media including an
examination the world of film festivals; the
roles of film curators, programmers and
distributors; online distribution and various
other exhibition platforms. Numerous works will
be screened along with visits from artists and
curators throughout the course.