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7/2/2012

A Trip to the Moon

Bonniers Konsthall, Stockholm

The love affair between art and film started the moment the film camera was invented. This spring, Bonniers Konsthall will investigate the centurylong relationship.

A century after the first film experiments, moving image is an inevitable part of our visual culture. We interact constantly with moving images on different screens: computers, mobile phones and game consoles. With the development of portable equipment and social networks on the internet, the making, screening and distribution of film have become available to everyone. One could say that we have now reached the stage after film, a shift in technologies, maybe as decisive as the invention of film itself. A sad consequence of the invention of new technologies is that other techniques have to move to the graveyard of the outmoded and the obsolete. Those funerals also mean the burial of a certain vision.

How those shifts, those births and deaths in the history of the moving image, influence and change art is the core in this spring’s major exhibition project A Trip To the Moon.

In the exhibition viewers are presented with contemporary artists who employ moving imagery as their tool to express the theme of the history and future of filmmaking. The fascination of the field of visual arts with film extends right back to the moment the film camera was invented. In order to delve into the debate that has always existed between these two art forms, we will be screening a selection of historical feature films and shorter video installations as footnotes in the exhibition. Video art often serves as a commentary on the role of film in society as a whole, as well as exploring the vast possibilities offered by the medium of film.

In the exhibition A Trip to the Moon, viewers are presented with contemporary artists who employ moving imagery as their tool to express the theme of the history and future of filmmaking. The fascination of the field of visual arts with film extends right back to the moment the film camera was invented. In order to delve into the debate that has always existed between these two art forms, we will be screening a selection of historical feature films and shorter video installations. Video art often serves as a commentary on the role of film in society as a whole, as well as exploring the vast possibilities offered by the medium of film.
Dara Birnbaum, Technology/Transformation: Wonder Woman (1978-1979)

Dara Birnbaum first became known as one of the video installation world’s leading figures when she appropriated nothing more than clips from the cult-series Wonder Woman in her art film Technology/Transformation: Wonder Woman. The viewer follows secretary Diana Prince through action-filled scenes as she transforms into Wonder Woman, a character inspired by legendary Greek warwomen. After this production, Birnbaum took material from soap operas, pop quizzes and sports shows as a commentary on how TV media affects our lives.
Charlie Chaplin, Behind the Screen (1916)

As king of the silent film era, Charlie Chaplin acts out all possible hardships a stagehand can encounter during a film production in Behind the Screen. One of the film’s side stories looks upon a woman who dresses as a man in able to work as a carpenter. Chaplin’s character sees through her act and begins courting her. Their flirtatiousness is discovered at an intimate moment and they are accused of being homosexuals. Early days for a debate of its kind!
Lillian Schwartz, Pixillation (1970)

Since the advent of the computer, artists and experimental film producers have trialled and tribulated over just how to create digital imagery. Lillian Schwartz was one of the first to carve the path for today’s use of computer graphics, 3D and animation. Pixillation is one of the earliest video installations that was created entirely digitally, displaying abstract colourful designs that transform shape along to a beating soundtrack.
Georges Méliès, A Trip to the Moon (1902)

Méliès silent adventure film made a huge impact when it was released in 1902. A Trip to the Moon deals with a group of people who travels to the moon – from this film the science fiction genre was born. The plot is loosely based on Jules Vernes’ book From the Earth to the Moon, as well as The First Men in the Moon by H.G. Wells.
Dziga Vertov, The Man with a Camera (1929)

Dziga Vertov was one of the Soviet Union’s most important filmmakers, and The Man with a Camera had a deciding impact on the development of film. This film displays city life in the Soviet Union through the eye of the filmmaker. Through The Man with a Camera, Vertov introduced such innovative filming techniques as camera tracking, fast and slow motion, and double exposure.

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Before and After Cinema
Conference 9–10 March, 2012
Cinema Sture,
Birger Jarlsg. 41 A, Stockholm

Before and After Cinema is an international conference on the status of the moving image in contemporary art, in the perspective of the shift from analogue to digital media, and what this means to distribution, perception, archiving and the making of art and film. The conference is a part of a larger collaboration between Bonniers Konsthall and Moderna Museet in Stockholm. The conference is co-produced by Stockholm Academy of Dramatic Arts.

Participants:
Eija-Liisa Ahtila: Artist
Sara Arrhenius: Director Bonniers Konsthall
Daniel Birnbaum: Director Moderna Museet, Stockholm
Dara Birnbaum: Artist
Jan Holmberg: CEO of the Ingmar Bergman Foundation and Curator of the Ingmar Bergman Archives
Magdalena Malm: Director Mobile Art Production, Stockholm
Christiane Paul: Director of Media Studies Graduate Programs and Associate Prof., School of Media Studies, The New School , Adjunct Curator of New Media Arts, Whitney Museum of American Art.
Ming Wong: Artist


Image: Ryan Trecartin, P.opular S.ky (section ish), 2009.

Press contact
Sofia Curman Tel + 46 8 7364266 sofia.curman@bonnierskonsthall.se

Bonniers Konsthall
Torsgatan 19 SE-113 90 Stockholm Sweden
Opening hours:
Wednesday - Friday 12 pm - 7 pm
Saturday - Sunday: 11 am - 5 pm
Monday - Tuesday closed
Entrance fees
Entrance fee: SEK 70
Students: SEK 50
Pensioners: SEK 50
Membership: SEK 140
Free entrance for Children and youth under 18 and Art students with ID

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