By Paolo Magagnoli
This well timed quantity discusses the experimental documentary tasks of a few of the main major artists operating on the earth this day: Hito Steyerl, Joachim Koester, Tacita Dean, Matthew Buckingham, Zoe Leonard, Jean-Luc Moulène, Ilya and Emilia Kabakov, Jon Thomson and Alison Craighead, and Anri Sala. Their movies, movies, and photographic sequence handle failed utopian experiments and counter-hegemonic social practices.
This learn illustrates the political value of those creative practices and significantly contributes to the talk at the stipulations of utopian considering in late-capitalist society, arguing that modern artists' curiosity long ago is the results of a shift in the temporal association of the utopian mind's eye from its futuristic pole towards remembrance. The ebook for that reason presents one of many first serious examinations of the hot flip towards documentary within the box of up to date artwork.
Read or Download Documents of Utopia: The Politics of Experimental Documentary PDF
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Extra resources for Documents of Utopia: The Politics of Experimental Documentary
Like Foucault’s heterotopias, the ruins filmed by Dean and others lie at the intersection of distinct categories: the imaginary and the real, the banal and the extraordinary, the different and the homogenous, and the ordered and the disordered. By approaching contemporary filmmakers’ and photographers’ works through Foucault’s concept, I hope to point at the critical dimension of their nostalgia for ruins. In this chapter, I will extend my analysis to films by Matthew Buckingham and Joachim Koester, two artists who have explored the history of nineteenth- and twentieth-century Ruins of Utopia 29 utopianism through photographic and filmic projects that depict derelict buildings and abandoned urban spaces.
46 D O C U M E N T S O F U TO P I A The fragmentary image of utopia provided by the films of contemporary artists may indeed recall Zygmunt Bauman’s diagnosis of the condition of utopia in late capitalism.
31 Thelema shows how the normality of its bourgeois surrounding is just a façade, a superficial appearance of order which lacks any real substance. It discloses the self-deluding fantasy that sustains our ‘normality’, and the fiction that is our reality. Conversely, there is something grotesque and pathetic in the hyperbolic and mystical language of transgression and subversion conveyed by Crowley’s frescoes. The ruin’s crumbling and unassuming walls hint at the transgressive spirit of Crowley’s beliefs but also at his trickery.