Issue 04 (autumn 2021)
Guest-edited by Eugénie Zvonkine (Paris-VIII University) and Luísa Santos (Catholic University of Portugal), in consultation with Evgeny Gusyatinskiy (Garage Museum of Contemporary Art)
The fourth issue of the Garage Journal, scheduled for autumn 2021, seeks to publish innovative scholarship on the relationship between the moving image and the museum. It aims to analyze ways in which cinema, video art, and curatorial practices inform and influence each other.
The issue will comprise three parts.
The first part will be dedicated to the mutual fascination between cinema and contemporary visual arts at formal, conceptual, and methodological levels. We know how much contemporary artists are inspired by cinema and how often they use it as raw material for their works. But the opposite is also true: more and more cinematographers who still make and distribute their films in the traditional socio-economic structure of film production and distribution declare that they are inspired by video artists. Moreover, theoreticians frequently employ concepts originating in analyses of traditionally distributed cinema and apply them to the context of contemporary artistic practices (for instance, Mulvey 1989), or the other way around (see Verraes and Le Maître 2013; Denson and Leyda 2016). We welcome proposals that dwell on this fertile theoretical and practical relationship between cinema and the moving image in the museum context.
For the second part, we expect proposals that look into the relationship between the variety of narratives created by the moving image and the curatorial practices that make the moving image visible. Research on cinematographic exhibitions has always paid attention to films, but to date, conceptualizations of the topic have been extremely rare (Mandelli 2019). Issues that can be explored in this regard include the relationship between moving image curatorship and preservation, archiving, and other activities; the role of curatorial practices in the production of moving images, as well in creating new (both physical and virtual) spaces for moving image exhibitions and programmes; and critical dialogues in which artists, filmmakers, and curators engage when addressing the social and political domains.
In the third and final part, we will address the ways in which audiences are immersed in new relationships (see Bourriaud 1998/2002; Bishop 2012) and (particip)a(c)tions upon entering the exhibition space(s). Audiences’ active or passive role, the place given to them in the moving image and in the exhibition space, the processes of identification and distancing, the generation of estrangement, and the mechanisms of emotion and empathy are all components of both cinematographic and curatorial creation. But how do these relationships influence the moving image? How do they affect the viewer? We are looking for proposals that investigate ways in which moving image exhibitions may or may not have a direct effect on our thinking and behavior, something that can either empower or weaken the structures of society. In other words, we are interested in how moving images, just as art in general, ‘[may] generate an imaginary space in which the most diverse wishes and desires can be projected’ (Gielen 2018: 133).
We invite contributions in English, Russian or German in the form of articles, visual essays, data essays, interviews, and archival materials. The Garage Journal does not publish unsolicited artworks.
To submit a proposal, please provide the following information in English:
• Contribution type (e.g., article, visual essay, data essay, interview, etc.)
• Language of contribution (English, German or Russian)
• Title of contribution
• Abstract (300 words)
• Key words that indicate the focus of the contribution (e.g., cinema, moving images, museums, curating, audiences, participation, narrative)
• Biographical information, including a short biographical statement of maximum 100 words stating research interests and relevant professional experience, and a list of no more than 10 publications relevant to the themes of the special issue
Proposals for contributions are due on December 1, 2020. Send all the information requested above—as a single PDF document—to the editors at GJ@garagemca.org.
1) Bishop C (2012) Artificial Hells: Participatory Art and the Politics of Spectatorship. London, New York, Verso.
2) Bourriaud N (1998/2002) Relational Aesthetics. Dijon, Les Presses du Réel.
3) Denson S; Leyda J (2016) Post-Cinema: Theorizing 21st-Century Film. Falmer, REFRAME Books.
4) Gielen P (2018) Constitutions of transnational citizenship. In: Lafleur B, Maas W and Mors S (eds), Courageous Citizens: How Culture Contributes to Social Change. Amsterdam, European Cultural Foundation.
5) Mandelli E (2019) The Museum as a Cinematic Space: The Display of Moving Images in Exhibitions. Edinburgh, Edinburgh University Press.
6) Mulvey L (1989) Dialogue with spectatorship: Barbara Kruger and Victor Burgin. In: Mulvey L, Visual and Other Pleasures. Language, Discourse, Society. Palgrave Macmillan, London.
7) Verraes J; Le Maître B (2013) Cinéma muséum: le musée d’après le cinéma. Paris, PUV.
Founded in 2019, The Garage Journal is an independent interdisciplinary platform advancing critical discussions about contemporary art, culture and museum practice in the Russian and global contexts. It publishes empirical, theoretical and speculative research in a variety of genres, celebrating innovative ways to present research. Fully peer-reviewed, it provides a source book of ideas for an international audience.