Some filmmakers or artists decide to put art at the heart of their creation, applying not only the relationship between cinema and art to their concept but also to various aspects of the process of creation. Miriam De Rosa addresses this kind of “art contemporary turn” by examining the different incursions of cinema from the point of view of the contemporary art space: “how the contemporary experience of moving images is articulated when it enters art spaces.” The presence of film in this foreign space, transform- ing it into a different and personalised place, can be observed in recent exhibitions: Sleepwalkers (2007); Marta Minujín’s Menesunda Reloaded (2019) at the New Museum in New York; and Sensitive Environments by the Milan-based collective Studio Azzurro.

Dwelling with Moving Images

miriam stefania de rosa
Writing – Original Draft Preparation
2020-01-01

Abstract

Some filmmakers or artists decide to put art at the heart of their creation, applying not only the relationship between cinema and art to their concept but also to various aspects of the process of creation. Miriam De Rosa addresses this kind of “art contemporary turn” by examining the different incursions of cinema from the point of view of the contemporary art space: “how the contemporary experience of moving images is articulated when it enters art spaces.” The presence of film in this foreign space, transform- ing it into a different and personalised place, can be observed in recent exhibitions: Sleepwalkers (2007); Marta Minujín’s Menesunda Reloaded (2019) at the New Museum in New York; and Sensitive Environments by the Milan-based collective Studio Azzurro.
Post-cinema: Cinema in the Post-art Era
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10278/3735567
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