With: Leo Goldsmith (moderator), Greg de Cuir Jr, Joana Hadjithomas and Khalil Joreige, Alison nguyen
How to perpetuate the critical potential of recycling and appropriation of the moving image archive in the digital age? This panel will address the artistic reuse of various archives as well as the practices of appropriation and sampling of the cinematographic past as a critique in the works of contemporary artists.
“Archival Impulse: Appropriation and Critique” is the fourth of six panels of the online symposium The State of the Moving Image organized by Lukas Brasiskis, which will take place from September 17 to 19 on e-flux Video & Film, and accompanied by the screening program Another cinema: devices and stories (broadcast from September 6 to 20).
Leo Goldsmith is Visiting Assistant Professor of Culture and Media at Eugene Lang College, The New School. He is co-author of Robert Stam’s Keywords in Subversive Film / Media Aesthetics (Wiley, 2015) and author of a book on British filmmaker Peter Watkins (Verso, forthcoming). It frequently contributes to 4 Columns, Reverse shot, and the Brooklyn train, of which he co-edited the cinema section from 2011 to 2017. Film curator and programmer, he is currently an advisor to the programming team of the New York Film Festival.
Greg de Cuir Jr is a freelance curator, writer and translator who lives and works in Belgrade, Serbia.
Joana Hadjithomas and Khalil Joreige are filmmakers and artists who question the making of images and representations, the construction of imaginaries and the writing of history. Their works create thematic and formal links between photography, video, performance, installation, sculpture and cinema, whether documentary or fictional film. The artists are known for their long-term research based on personal or political documents, with a particular interest in traces of the invisible and the absent, and kept secret stories such as disappearances during the Lebanese civil war, a forgotten space project of the 1960s, the strange consequences of scams and spam on the Internet, or the geological and archaeological undergrounds of cities. Among their works are Circle of confusion (1997), Lasting images (2003), The Lebanese Rocket Society (2011), scams (2014), I looked at beauty so much (2016), and Discrepancies (2017), presented at the Center Georges Pompidou (Paris) and awarded the Marcel Duchamp Prize. Their recent feature film Memory box presented in the official competition of the 71st Berlin International Film Festival 2021.
Alison nguyenHer work explores the ways in which images are produced, disseminated and consumed by exposing the conditions from which they emerge. Creating strategies of dissent, Nguyen re-articulates mainstream visual language in video, installation, performance and new media works. She presented works to e-flux; Ann Arbor Film Festival; Oberhausen International Film Festival; CPH: DOX; CROSSROADS presented by the San Francisco Cinematheque and the San Francisco Museum of Modern Art; Right wrong; and Channels Festival International Video Art Biennale, Melbourne. She has exhibited her work in numerous institutions and galleries, including The International Studio & Curatorial Program, Microscope Gallery and Hartnett Gallery, New York; AC Gallery, Beijing; the Asia Art Mueum, San Francisco; and the Dowse Art Museum, New Zealand, among others. Nguyen has participated in residencies and received scholarships from the International Studio & Curatorial Program (2019-2021), the Institute of Electronic Arts (2018), the Squeaky Wheel Film and Media Art Center (2019) and the BRIC (2018). She has received grants from the NYFA / NYSCA Artist Fellowship – Video / Film ’21, the Foundation for Contemporary Art, the NYSCA and the New York Community Trust.
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