<div class="chapeau">“PROJECTING/DISPLAYING. THE WORK OF ART IN THE AGE OF ITS REMEDIATION” WAS A THREE-DAY SEMINAR DEDICATED TO FILMS, HELD IN JANUARY
2018 AT THE TEATRINO. IN THEIR TALKS, ARTISTS, ART HISTORIANS, AND CURATORS EXAMINED QUESTIONS PERTAINING TO THE DISPLAY AND EXPERIENCE OF WORKS IN DIFFERENT MEDIUMS IN THE MUSEUM.</div>
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<span class="title">Projeter / Exposer :</span>
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<span class="lieu">L'oeuvre d'art à l'époque</span><br>
<span class="lieu">de sa rémédiation</span>
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Professor of Semiotics, Philosophy and Theory of Languages,<br> IUAV University, Venice
<span class="alinea"></span> Visitors who dropped by the Teatrino at Palazzo Grassi during the three-day program “Projecting/ Displaying: The Work of Art in the Era of its Remediation” this January 2018 were probably surprised
to find the metallic machinery of a 16-mm-film projector installed among the seats and, even more, to discover that
the voice-over narration of a 1947 classic “film on art” about Carpaccio’s paintings was paired, onscreen, with close-ups of ingurgitating tongues filmed by Lygia Pape in 1975
<i>(Eat me: a gula au a luxúria?)</i>.
<span class="alinea"></span> The deconstruction of a merely thematic and selfevident definition of the art/film relationship was actually at the core of the research
project hosted at the Teatrino, devoted to exploring film as a place of legibility for the operations of the work of art and its display, rather than the work of
art as object of filming.<sup>1</sup> Such a perspective demands the collective experience of a shared vision, devoting great care to the technical specificities
of the display itself, rather than the chiefly logocentric model of the conference lecture: the visual experience is not here the object of a merely
theoretical interpretation to come, but a form of interpretation carried out by the objects themselves through their own means. Precisely what the late Hubert
Damisch would call a <i>theoretical object</i>.
<span class="alinea"></span> Faithful to the display history evoked by its name, the Teatrino became, during those afternoons, an experimental laboratory in which different forms of
visual and conceptual thought alchemically reacted with one another: scholarly papers, digital and 16-mm projections, as well as lectures by artists Pierre Leguillon,
Rosalind Nashashibi and Lucy Skaer, and Mathieu Copeland and Philippe Decrauzat. This alchemical reaction outlined the way in which, through their mutual remediation, the
film and the work of art reflect on the operations that govern their regimes of visibility and critically examine the conditions of representation itself.
<span class="alinea"></span> Michael Snow’s oblique filming, revealing the material support of his own canvasses <i>(Side Seat Paintings Slides Sound Film,</i> 1970); the nocturnal
flashes perceptually intensifying the light that allows the objects to appear in the museum <i>(Flash in the Metropolitan</i> by Rosalind Nashashibi and Lucy Skaer, 2006); the naturalized
devices of the conference display, reappearing in the archeological gesture of hanging posters and supporting a narrative <i>(Diane, Ad et Tupperware. An autobiographic
conference,</i> performative lecture by Pierre Leguillon); the forgotten surfaces of inscription of both the canvas and the film reaffirming their opacity <i>(A Personal Sonic Geology,</i> exhibition project by
Mathieu Copeland and Philippe Decrauzat, 2015); the topological exploration of the limits of the medium running through film and installation (Lygia Pape, <i>Favela da Maré,</i> 1972; <i>Eat-Me,</i> 1975;
<i>Catiti-Catiti na terra dos brasis,</i> 1978); the reaffirmation of a material intermediary between the filmic experience and the object or space it
seizes (Paul Sietsema, <i>Empire,</i> 2002): these meditations on the supports of the display experience were beautifully intensified, now and then, by the sudden transformation of the
conference room into the dark space of the analog film experience, crossed by the mechanic sound and the dusty conic light of the projection.
1 — The project, coordinated by the Film department of the Centre Pompidou and the Centre d’histoire et théorie des arts at EHESS Paris, in association with Iuav University of Venice,
was supported by the “Labex CAP - Création, Arts, Patrimoines”, the French laboratoire d’excellence that calls for a renewed reflection on creativity and heritage through joint
research projects between universities and museums.
<b>Scientific board :</b> Enrico Camporesi (Labex CAP), Giovanni Careri (EHESS, Paris / Iuav Venice), Carmelo Marabello (IUAV, Venise),
Angela Mengoni (IUAV, Venise), Philippe-Alain Michaud (Centre Pompidou), Jonathan Pouthier (Centre Pompidou) • <b>With :</b> Lena Bader (DFK, Paris),
Érik Bullot (ENSA, Bourges), Enrico Camporesi (Labex CAP), Mathieu Copeland, Philippe Decrauzat, Eric De Bruyn (Freie Universität Berlin), Lydie Delahaye (Université Paris 8),
Pierre Leguillon (HEAD, Genève), Rosalind Nashashibi et Lucy Skaer.
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