Why is modern art absolute garbage

Film - is and as-if in art

A classic moment in cinema history: the film's image space suddenly seems to tip over into the projection room when the Lumière brothers pull a train towards the audience, and the audience flees in panic to avoid a catastrophe. In the escalation of the spatial encroachment, this incident reveals a fundamental, but often overlooked fact of perception: in the cinema, the real and the fictional, the architectural and the cinematic space, is and as if, are intertwined. For the duration of the film, external and mental space mix in a multiple network of relationships. The viewer himself becomes a second place of performance - next to the cinema hall. The films of the imagination, moved by the “inner” eye, correspond to the mechanically moving images of the "outer" film. This diffusion of architectural, projected and imagined space has preoccupied the visual arts since the invention of film. It has already been trained in the theater and has been analyzed in detail in video art over the last few decades. Using 35 artistic positions, installations and films, drawings, photographs and sculptures, the third part of the trilogy "Multiple Spaces: Soul, Park, Film" deals with how the illusionary medium film brings indoor and outdoor spaces to interpenetration. The informative catalog contains articles among others. by Jörg Jochen Berns, Oliver Grau, Lutz Ellrich, Jörn Hetebrügge, Jürgen Müller, Karl Heinz Ott, Matthias Winzen and Beat Wyss (Verlag für moderne Kunst Nürnberg; € 19, -): Art, film and theater scholars discuss the development of the illusionary spaces of the theater to the cinema as the decisive spatial technology of the modern age, from historical precursors of the film to its aftermath in the virtual spaces of media art.

Expanded Cinema While Oskar Schlemmer arranges figures in spatial situations such as on stages or on a film set in his watercolors, the experiments of the classic avant-garde began in the 1920s to further develop painting in abstract, "absolute" film (Walther Ruttmann). At the same time, attempts were made to create a surreal design of film spaces in narrative short films influenced by Dadaism (Hans Richter), as well as a diverse, sometimes visionary theming of metropolitan spaces in film (Fritz Lang). An early incunable of the artistic exploration of the illusionary potential of the “electric” stage and film is the future-oriented “light-space modulator” with which Lázló Moholy-Nagy implemented precisely staged light plays. Marcel Duchamp's analysis of the mechanisms involved in the creation of spatial illusion leads to the presentation and dissection of the cinematic apparatus in the video performances of the 1960s and 1970s. Valie Export and Malcolm Le Grice encounter the conditions of “seeing and hearing” space and interact in space with the film's recording and projection techniques. Such “expanded cinema” tries out extensions of traditional performance spaces and introduces various levels of medial refraction into the synthetic space of the film images (Nam June Paik). Artists like Yves Klein use the expansive medium to dramatize the creative act itself as a performance and to turn the studio into a stage for cinematic self-staging.

Masquerades and media memory In the age of television and video anyone can be a star for 15 minutes - this is how Andy Warhol propagated the fiction space as a rehearsal stage for multiple identities and at the same time exposed the fragility of the film star system. Role clichés and masquerades, such as those taken by Cindy Sherman, Mike Kelley & Paul McCarthy or Rodney Graham to absurdity, refer to the abysses behind the (human) facades and in the stereotypical film genres of Hollywood. Experimental filmmakers and video artists such as Christoph Girardet & Matthias Müller use serial image cuts to bring out the conventionalized patterns and consistent repetitive structures in Hollywood melodramas and crime films. Especially when playing with clichés, with the absolutely artificial nature of film and with our memories and expectations of films - that “media memory” that we always carry with us - younger positions open up the possibility of banal, sometimes nightmarishly familiar places for the viewer as potential areas of action to be captured (Oliver Boberg). A film starts in the head, our imagination takes over drawn rooms as sets with a plot (Achim Hoops).

The fictionalization of everyday life Our ability and our habit of adding fragments that remind us of films seen earlier, associatively to a film, also brings about a constant fictionalization of everyday spaces, situations and the images of these. In view of Arnold Odermatt's accident photos, we can hardly avoid the automatism of reading the individual photo as a film still and letting the alleged course of the accident reel off in front of our minds. Whether in the form of catastrophes witnessed on a daily basis, in the form of a cinematic but everyday lifestyle (Stefan Panhans) or a mass celebrated fan culture in which science fiction visions become reality (Claus Richter): cinematic fiction is pushing into it with all its might Everyday rooms of the audience.