Matilde Nardelli

Moving Pictures: Cinema and Its Obsolescence in Contemporary Art:

Increasingly, whirring film projectors, diaphanous filmstrips and cinema’s apparently obsolete materials more generally have become prominent features of contemporary art. This article explores the widespread pursuit of cinematic obsolescence in contemporary gallery installations, and considers its relation to our current phase of media and technological change. Seen in the context of the much-vaunted transition to the digital age, this artistic phenomenon of engagement with cinema’s materiality and historicity may seem an act of nostalgia, or even of mourning, for cinema itself. Even as nostalgic gestures, however, the most sophisticated of these cinematic installations, such as those by Rodney Graham and Atom Egoyan analysed at length here, are a way of thinking cinema, of (re) interrogating its very idea and the possibility of its future. Furthermore, and somewhat paradoxically, for all their courting of obsolescence — in fact, by very virtue of this process — these artistic practices configure not the death of cinema but its continuation.

End(ur)ing Photography

As recent studies tend to note, the convergence of photography and cinema onto a shared digital platform has caused these media to shed some, if not all, of their specificity. Little thought has been given, in this context, to the way in which photography may be turning cinematic because of a shift toward the durational in the conditions of its experience. For, as a consequence of being most often consumed off a screen, the photograph is increasingly experienced as an image that, not unlike cinema, has duration and, indeed, ends. The present article considers what can be described as a “cinematization” of photography in contemporary viewing habits, and outlines a critical historical context for these changes in the slide projections and films of photographs of 1960s and 1970s visual art.