A platform of theoretical connections between artistic practices, processes and curatorial apparatus

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Abstract

The essay intends to re-evaluate the relations between cinema and
the old media of drawing by dismantling the curatorial apparatus
within the fabrication of a particular art work and its conceptual
organisation; focusing on Alexandra do Carmo's drawing series
(projects between 2008 and 2018) — and more specifically Studio
Socialis 2014. These works enact a transient relationship between
the mediums of drawing and video. Firstly we are analysing her
work within the world of cinema as Idea; we argue that drawing
is being used to conceptualise the editing tools of silent film, as
if the silence of film without sound, seen through the fictional
drawing tools, the pencil as the apparatus, could show us a
cinema that lives from its mechanical support yet revealing itself
distant from it—as articulated by Pavle Levi (2010) in a dialectical
relationship between the concept and the apparatus. Secondly,
it proposes a reflection on what is to build temporalities and the
performatic aspect of the work—of the bodies of the ones looking,
as well the memory process of translating one dispositif into
another. All in a place of multiple pre given occupying conditions,
the art institution.
Original languageEnglish
Pages (from-to)123-131
Number of pages9
JournalRevista de História da Arte Série W
Issue number11
Publication statusPublished - 2022

Keywords

  • Apparatus
  • Performativity
  • Drawing
  • Video
  • Visitor
  • Spectator

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