Suchergebnisse

By titling Issue 52 'New Politics', it may look as if it were innovation and novelty in the political field that are invoked. We seem to experience yet another version of the discontents of civilisation, paralleled by the search for new political responses. The emergence in recent times of new forms of political claims and demands and the structural inequalities, both at local and global level – exacerbated by the biopolitical governmentality of the past two years and by digitisation – has reshaped the maps of the sayable and unsayable and forms of political expression and organisation. The traditional political apparatus and its vertical organisation are increasingly paralleled if not challenged by a proliferation of voices and their calls for recognition. Art, as the traditional sphere for progressive politics and for the exploration of the political by other means, offers a front seat to observe these dynamics and is in fact one of its main contemporary stages. In this regard, the 'new' in the title is perhaps misleading as it might recall, for some, old modernist cries for the search of novelty and progress and constant orientation towards futurity. By new, what the editorial team had in mind is perhaps closer to a certain contemporary structure of affect as a response to what are indeed new types of claims leading to new aesthetic positions and artistic sensibilities. And if all are not 'new', the plural geographies and the 'minor' archives they excavate and bring to the fore do shape an artistic landscape that articulates a different idea of the global, feels both contemporary and inactual and which, hopefully, contributes to shifting the positions within sensible configurations and to estranging prevalent modes of saying and doing.

Whether explicit or allusive, references to the stragtegies of 1960s paracinema are increasingly part of the "cinematic turn" in contemporary art. Based on the analysis of the work of three artists - Barba, Borinski and Maljkovic - this article attempts to question the discontinuities and genealogical links between the historical practices of paracinema and those, contemporary, which in contemporary art, seem to re-actualise them. The aim is to understand what the displacement of such strategies - at first sight formal - implies in their theoretical, political and spatial dimensions.

Film Implosion! is an exhibition dedicated to Swiss experimental cinema. It sheds light on a less known aspect of the country's art history by presenting a panorama of genres and practices within the mediums of film and video from the 1960's until today. Artists challenge the traditional codes of cinema through formal interventions directly on the celluloid, unconventional documentaries, political, feminist, animated, and fiction films.

Malcolm Le Grice, a filmmaker and intermedia artist active in the Arts Lab and the London Film Makers' Cooperative, revisits the emergence of the British independent and expanded cinema scene, reinscribing it in a highly politicised context. Opposing the logic of medium specificity, he reinscribes his experimentations with expanded cinema in a strategy of discursive construction that challenges the flatly representational logic of narrative cinema.

Mitte der Sechziger Jahre hatten in Happenings die verschiedensten Kunstformen zu einander gefunden. Im Moment verankerte Ausdrucksformen waren entstanden, die die Verschmelzung von Kunst und Körper, Kunstproduktion und Erfahrung vorantrieben, oft spartenübergreifend operierten und sich im grösseren politischen Zusammenhang als "Underground" verstanden. Der Begriff Expanded Cinema, der sich in der Filmszene für diese Art Veranstaltungen einbürgerte ist bis heute ein "elastischer Name für viele Arten von Film- und Projektionsveranstaltungen" (Rees 2011, S.12) geblieben, unter welchem Filmemacher/innen und Filmkünstler/innen wiederholt auch Projekte subsummierten, die formal nur noch wenig mit traditionellen Filmvorführungen gemein haben. Experimente mit dem Dispositiv des Kinos und ihrer Kontextualisierung stehen im Zentrum der Tournee Underground Explosion die 1969 Musik, Performance, Theater sowie Licht- und Filmprojektionen kombinierte. Dieser Beitrag versucht diese Tournee als Expanded Cinema zu begreifen und fragt sich, wieso diese Veranstaltungsreihe ephemer bleiben musste und keine Fortsetzung fand. ; + ID: 586504 + Reihentitel: subTexte + PeerReviewed: Peer Reviewed