This text examines two cases in order to start outlining the aspects of a specific relationship between cinema, on the one hand, and museum and exhibition spaces, on the other. It studies two films (Assa by Sergei Solovyov and Jean-Luc Godard, The Disorder Exposed by Céline Gailleurd and Olivier Bohler) as models of cinematic conservation and curating invisible and ephemeral museal art forms. These films aim at making visible a work of art made invisible by censorship and the socio-political system in place, or by its public failure, on the one hand, and its brevity, on the other. The author shows how these films work as a (trans)portable museum.
To cite this item:
Zvonkine E (2021) Conserve, Show, Restage, Revivify. The Film as (Trans)portable and Projectable Museum. The Garage Journal: Studies in Art, Museums & Culture, 04: 138–154. DOI: 10.35074/GJ.2021.77.92.011
To link to this item: https://doi.org/10.35074/GJ.2021.77.92.011
Publication type: Essay