Wherever we go, we are surrounded by moving images. In art as in daily life, they have long since developed a life "beyond the cinema," scuttling the conventions of dark auditoriums for images projected onto walls, staged in specially-designed environments, and aggregated in multiples. Beyond Cinema centers around approximately 25 important film and video works, primarily the major installations of the 1990s, including the ravishing projections of Pipilotti Rist, the existentialist image of the body put forward by Bruce Nauman, the psychologically charged filmic spaces of Eija-Liisa Ahtila and the highly conceptual installations of Rodney Graham. Each elaborates on notions of the projected image that were developed in the 1960s, and groundbreaking works from Marcel Broodthaers, Dan Graham and Valie Export are presented to contextualize investigations of identity and body image, film cooperatives, representations of time and other topics.

Beyond Cinema: The Art of Projection:

Jäger, Joachim

Hüsch, Anette

Eamon, Christopher

Knapstein, Gabriele

Reference

Hatje Cantz

<p><div>Since 1986, in his <i>Originals</i>&nbsp;series, Dag Erik Elgin has devoted himself as a re-creating painter to his own admittedly subjective, but not unusual, canon of modern painting. In the series he repeats the selected works, all of them Modernist or Clas­sical Modernist, but without pursuing maximum ­authenticity in the copying manner of an art forger. The resulting canvases are at the boundary be­tween complete appropriation and studying replica; in them, Elgin relives as a painter the processes where­by the actual originals arose, but at the same time uses&nbsp;them to generate an intellectual reflection on the sensitive topics of ­original and forgery. His <i>Originals</i>&nbsp;are aesthetically attrac­­t­ive, yet--as forgeries--they would not withstand a critical autopsy in the art market, for their materials and manner of production in no way disguise the fact that they have been created in the present. Yet it is the painting itself, the in­sistence on a personal ­product in oil on canvas, that makes the <i>Original</i>&nbsp;an original in an age of perfected digital opportunities for appro­pri­ation, which would&nbsp;outdo any artisanal transfer.</div></p>

Dag Erik Elgin: Mirror Falling from the Wall

Arts & Photography

Fleckner, Uwe

Individual Artists

Snoeck Publishing Company

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