The Art of the Moving Image

Display Schedule

Subject guarantor:

Tomáš POSPISZYL

Name of lecturer(s):

Tomáš POSPISZYL

Learning outcomes of the course unit:

The course aim is to acquaint students with selected historical works on the border of the fine arts, video art and experimental fiilm, that works of so called the art of the moving image, which the audience often encounters in a gallery. Emphasis will be placed on screening works and their entirety, a brief contextualization and subsequent discussion. In the Summer semester will be a number of examples to link the use of classical film material.

Mode of study:

Screenings, presentation, discussion

Prerequisites and co-requisites:

No knowledge requirements necessary

Course contents:

7. Oct.

Fluxus films Movements, 1966, total 53 minutes

Series of films experimenting with the properties of film recording (extreme deceleration or acceleration, manipulation of the film band, first experiements with the television image)

. Yoko Ono: Four, Pieter Wanderbeck: 5 O'Clock in the Morning, Joe Jones: Smoking, Eric Andersen: Opus 72, George Maciunas: Film No 20, Wolf Vostell: Sun in your Head and others.

14. Oct

The moving image, minimalism and conceptual ar. Michael Snow in his films connects minimalism (continual shot in Wavelength) and pschodelic sound, or film and its properties subjected to a conceptual (and funny) analysis.

Michael Snow, Wavelenght,1968, 48 minutes

Michael Snow: So is this, 1982, 48 minut (in English)

21. Oct

Situation, documentation, myth. Minimal Performances of artist Bas Jan Adera (1942-1975) are effectively romantic and easily interpreted as the tragic fate of a lone artist. Later in confrontation there will be a comparison with later documentary films about the artist and the original film action recorded.

Bas Jan Ader: Here is Always Somewhere Else, 2006, 103 minutes, English

4. Nov.

Film in the hands of an artist. What is the relationship of reality and utopia? How to understand the linking of sound with its sound? A film of a Hungarian conceptual artist was for a long time considered lost. It was discovered just 5 years ago. Researching the sound, of course in a precise analytical spirit, is the subject of a film by the Polish artist Waska

Tamas St. Auby, Centaur, 1973-75, 40 minutes

Ryszard Wasko, 30 Sound situations, 1975, 9.20 min.

11. Nov.

Excursion

18. Nov.

Editing as a tool. A tryptic of continuing works rhythmizing historical film material with short repetitive shifts, which lead to a psychodelic effect uncovering a hidden level of classical Hollywood films.

Martin Arnold, Piece touchée, 1989, 1993, 1998, total 41 minutes

25. Nov.

Space, movement, time. The film works of Jána Mančušky were inspired by sculpture, theatre and classical film technology.

Ján Mančuška (1972-2011), work selections

Runa Islam, Timelines, 2005, 5 min example

2. Dec

Archeology of the film image. A New York artists composes their work to music and uses material from degrading films of the beginning of the 20th century.

Film image excerpts, considering the mechanical and chemical damage, are pure abstraction which may be perceived as a tribute to cinema and film material as it is.

Bill Morrison, Decasia, 2002, 66 min.

Bill Morrison, Light is Calling, 2003 8.13 min

9. Dec.

Film as material and a fetish. The work of a British artist rise exclusively from traditional film and also that medium - its history, technology and abilities - are analyzed.

Tacita Dean, Green Ray, 2001, 2.33 min.

Tacita Dean, Noir et blanc, 2006, 4.22 sec.

Tacita Dean, Kodak, 2006, 44 min.

16. Dec.

Fioms in galleries. Documentation of the works of several artists, who create space installations in galleries, whose parts are projection equipment or just a film strip.

Rosa Barba, Stage Archive,2011, 2 min documentary

Rosa Barba, At Jeu de Paume, 2012, 5 min documentary

Rosa Barba, At Tate Modern, 2012, 4 min documentary

Matthew Buckingham, Training Video, 40 min (example)

Recommended or required reading:

Required reading:

Erika Balsom: Filmic Ruins. In: Erika Balsom, Exhibitiong Cinema in Contemporary Art, Amsterdam University Press, Amsterdam 2013, s. 65-106.

Recommended reading::

David Campany (ed.), The Cinematic, Whitechapel a The MIT Press, London a Cambridge 2007

Tanya Leighton (ed.), Art and the Moving Image, Tate a Afterall, London 2008

Rosalind Krauss, Voyage on the North Sea, Art in the Age of Post-Medium Condition. Thames and Hudson, New York 1999.

Assessment methods and criteria:

Lecture attendance and participation:20%

Paper: 80%

Those who register for the course will receive by email a scan of the required readings (in English). The task, in an essay, is to link some of Mark Nash's thoughts with some aspects of any screened piece in the course.

Course web page:

není

Note:

none

Further information:

This course is an elective for all students of this school

Schedule for winter semester 2016/2017:

	06:00–08:0008:00–10:0010:00–12:0012:00–14:0014:00–16:0016:00–18:0018:00–20:0020:00–22:0022:00–24:00
Mon
Tue
Wed
Thu	místnost 423 Učebna CAS 423 (Lažanský palác) POSPISZYL T. 14:50–16:25 (přednášková par. 1)
Fri

Date	Day	Time	Tutor	Location	Notes	No. of paralel
	Thu	14:50–16:25	Tomáš POSPISZYL	Učebna CAS 423 Lažanský palác		přednášková par. 1

Schedule for summer semester 2016/2017:

The schedule has not yet been prepared

The subject is a part of the following study plans: