10am to 6pm
Moving image studies have been readdressing histories of artists’ film and video, expanded cinema, independent, community and activist film/video since the early 2000s. Engaging with diverse theoretical concerns and methodologies, a number of these accounts have set out to re-read canons, create new narratives, and disrupt boundaries between media and forms of film and video making. This symposium aims to explore affinities between diverse research questions, exploring how current research diverges from or develops existing narratives.
The symposium consists of two presentation panels, discussions and screening sessions. During the lunch break, there will be an open event at the British Artists’ Film and Video Study Collection. Following the symposium (after 5pm) you are invited to join an event co-organised with students undertaking the MRES Moving Image at CSM.
The symposium is organised by Claire M. Holdsworth and Colin Perry, who are currently undertaking PhDs at CSM. Claire M. Holdsworth is an archivist whose AHRC funded research considers British artists’ film and video of the 1980s. Colin Perry’s research focus is experimental documentary in Britain from 1974 to 1990; he is an art writer, and is the Reviews Editor of the Moving Image Review & Art Journal.
‘Writing Histories of the Moving Image’ is part of UAL's ‘Research Fortnight’, and has been coordinated by CSM Research.
ENTRY TO CSM – Information for attendees who have booked their place
There is a security gate entry system in use at CSM’s Granary Building. You will need to register online for the symposium (at the above Eventbrite link) in order to gain entry to the building. Between 9.30am - 11am there will be a dedicated registration desk situated inside the Granary Square building, in front of CSM’s security gates. Once you arrive you will be given a ticket to ensure entry. If you arrive after 11am, please check in at the Granary Building’s RECEPTION desk, beside the entrance to Granary Square.
10am – 12.30pm
Chair: Claire M. Holdsworth
Liz Kim (Courtauld Institute of Art, London)
Early Video Art and Medium Specificity: Between McLuhan and Greenberg
Nicolas Helm-Grovas (Royal Holloway, University of London)
Researching Mulvey and Wollen
Kathryn Siegel (Alumni - Central Saint Martins College of Art & Design, UAL)
Writing the Moving Image in Early October
The British Artists’ Film and Video Study Collection
During the lunch break there will be an open house (with a display of materials) in
The British Artists’ Film and Video Study Collection (Museum Collection, CSM)
(through the Lethaby Gallery, Ground Floor, Granary Building)
2pm - 4.30pm
Institutions & Exhibitions
Chair: Colin Perry
Lisa Parolo (University of Udine, Italy)
Reviewing Italian video-art history:
The case of Cavallino Gallery’s archive.
Lucy Rose Bailey (Middlesex University / Institute of Contemporary Arts, London)
A media archaeological study of the ICA’s video library
Chiara Marchini (Philipps-Universität Marburg, Germany)
The Two Avant-Gardes at documenta 6 (1977)
Enrico Camporesi (University Sorbonne Nouvelle – Paris 3 / University of Bologna)
Researching Une Histoire du cinéma:
Exhibiting Avant-Garde and Experimental Film at Centre Pompidou
5pm - onwards (C202)
Room C202 is located on the second floor walkway mezzanine above the Lecture Theatre E002.
Five Projectors in a Room
(To Say Nothing of Moving Image Histories)
Alexandra Anikina – Carly Whitefield – Sandra Wroe (CSM)
Five Projectors in a Room (To Say Nothing of Moving Image Histories) is an examination of the formal and methodological means through which artists address gaps in the archive and the inevitable absences marking historical representation. Grappling with the traces of lost or destroyed records, the film and video works projected in this installation explore what can and cannot be reconstructed of history. Curated by the final-year students on the MRes Art: Moving Image course in response to the symposium, this selection of works foregrounds issues arising in processes of research, offering artistic approaches to the inscription of historical aporia.