Abstract
Artists’ moving image work today occupies a key place in contemporary art. This is evident from the sheer amount of moving image media in public galleries and museums, retrospectives, biennales and artist-run initiatives. This chapter focuses on the installation of Australian artists’ moving image production, with an emphasis on installation and the way in which the work meets its audience. It examines the recent work of Brian Fuata, Pia van Gelder, Biljana Jancic and Angelica Mesiti with respect to exhibitions mounted in Sydney from 2012 to 2018. The concept of the dispositif—as a set of interrelated elements of an artwork for spatial display in the gallery—is put to work to confront the heterogeneity of forms, practices and experiences within four specified categories: ‘Document, Signal, Space and Channel’. This research connects the experience of the artists and curators in question, drawing on interviews, and links this with historical and theoretical discourse in relation to moving image (and sound) in the gallery. The chapter aims to show the inventive ways in which contemporary artists rely on inherited twentieth-century traditions of this relatively new (historically speaking) medium and engage with digital media convergence. This research finds Australian artists to be at the cutting edge of the field and provides a foundation to extend this research to the wider Asia Pacific region or international context. This chapter should be of interest to artists, filmmakers, screen and art theorists and creative practice-based researchers working in this domain.
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Barclay, E., Munt, A. (2019). Dispositifs at Play: Artist’s Moving Image in the Gallery. In: Batty, C., Berry, M., Dooley, K., Frankham, B., Kerrigan, S. (eds) The Palgrave Handbook of Screen Production. Palgrave Macmillan, Cham. https://doi.org/10.1007/978-3-030-21744-0_28
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