The text focuses on the gallery installations of two artists who are pushing the boundaries of cinema, Christian Marclay and Douglas Gordon. While Marclay creates audio-visual collages cataloguing and subverting the tropes of popular... more
The text focuses on the gallery installations of two artists who are pushing the boundaries of cinema, Christian Marclay and Douglas Gordon. While Marclay creates audio-visual collages cataloguing and subverting the tropes of popular cinema, Gordon alters the timing of films and plays with surfaces they are displayed on. The works discussed here employ found footage, specifically, cinematic masterpieces which are manipulated and modified. Such re-editing and re-interpreting of well-known films results in re-constructing original meanings.
Such a thorough and prolonged investment in the development and production of the work of a young artist by an established institution like the Stedelijk could be perceived as being “rare” or “special” as in the words of Sloothaak.... more
Such a thorough and prolonged investment in the development and production of the work of a young artist by an established institution like the Stedelijk could be perceived as being “rare” or “special” as in the words of Sloothaak. However, the engagement of a curator in the creation of a work is also not such an exceptional praxis in the contemporary curatorial discourse of the art museum. Rather, the shifting role of curators and their growing correlation with artistic creative activity have been arousing polemics since the late 80's.
