홈 > 뉴미디어대안영화제 > 뉴미디어대안영화제

상영관 인디스페이스(2017.08.21-25), 탈영역우정국(2017.08.18-22)

<하이라이트: 노르웨이필름앤비디오아트 1960-90>는1960년대이래예술가영화및비디오작품을종합적으로살펴보기위한장기적인연구프로젝트이다.예술가들이설립, 운영하는공간인아토피아(Atopia)에서시작된이프로젝트는노르웨이의실험영화및비디오아트의역사적맥락을발전시키고탐구하는데목적이있다. 이번네마프에서상영하는프로그램은 1960-90년대주요작품들을보여줬던기존전시회의  하이라이트이다. 이러한노력은 "항상역사화(化)하자(Always historicise)”[1]라는문구를실천하려는우리를역사성에대한담론으로이끈다. 역사화는현재의견해와환경을형성하는변화를탐지할수있게한다. 역사적분석은언제나메타-관점(meta-perspective)을권하고소수의예술활동, 국가나우주전체의경우가된다. 이는일상이상의위치를부여하고개요를제대로파악하게한다. 역사는다양하게다뤄지고가장많이조작되는인문학분야중하나이다. 인간이진보함에따라끊임없이개정되는과정속에서역사는흔히현재의비전과이해에맞게왜곡되거나공공연하게재구성된다. 역사는과거의기록이자사회가집합적인인식하는것이며, 우리는이역사에어떤요소나사건들을더하기도하고덜어내기도한다. 고의든아니든, 우리는끊임없이현재를구성하는각기다른일들과사건들의중요성을새롭게만든다. 따라서모든역사는본질적으로주관적이고, 이는과거에지속적인파동을가져온다. 우리는역사를바라보고, 역사는우리를뒤돌아보게한다. 이프로그램에서다루는예술작품이마주한역사에서우리는일상성(normality)의변화모습을볼수있다. 우리는수많은역사들을목격하고허공으로사라진일상성을감지할수있다. 눈앞에서역사가이러한변화를드러내는순간, 필자는본인의일상성(normality) 마저불가피하게상실되는데에전율을느낀다. 우리가가진상식은시간성에기반을두며단명적이기때문에또다른 10년동안살아남지못할것이다. 이프로그램에서소개하는모든필름과비디오아트작품은역사의이미지다. 이작품들은단순히은유적인의미가아니라과거를마주하는진실된창문을열어준다. 먼과거가남긴유물과다르게, 의도를가지고제작된이작품들을이해하고해석하기위해전문가의도움이필요하지는않다. 이작품들은우리가매일사용하는오디오-비주얼의언어로이야기한다. 마찬가지로이작품들은테크놀로지의순수성(naïveté)과초기기술발전단계에있던매체를보여준다. 이중대부분의매체들은투명도를잃었으며불투명한상태가되었다. 흘끔잠시보는것만으로우리는그시대를인식하고그시대의기술적이고문화적인영향력에대해궁금해할수있다. 그리고나서어쩌면우리는어떻게미디어가 “우리의삶에인공적인지각과임의적인가치들을부여”[2]할수있는지이해할수있게될것이다. (파라드칼란타리)

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 [1]마셜매클루언, 미디어의이해, (The MIT Press, 1994), p. 199
 [2]** 프레드릭제임슨, 정치적무의식, (NY: Cornell UP, 1981), 서문.

'The Highlights- Retrospective: Film & Video Art in Norway, 1960-90' Retrospective: Film and Video Art in Norway is a long-term research project which aims for comprehensive examination of artistsʼ film and video works since the 1960s. Initiated by the artist-run space Atopia the Retrospective intends to develop and explore historical context of experimental film and video art in Norway. The current program is a highlight of the original exhibition presenting some of the key works of the period. Through this undertaking we are drawn into a discourse of historicity, where we attempt to respond to the well-known call: “Always historicise.”* A rewarding aspect of historicising is the detection of changes, which have shaped our present day views and conditions.  In addition, historical analysis always encourages a meta-perspective, be it the case of a minor art practice, a nation or the entire universe.  It bestows a position above the everyday and makes it possible to have a proper overview. History is the subject of different treatments and it is one of the most manipulated areas of the humanities. In the process of constant revisions by human progress it is often distorted, misrepresented and overtly re-constructed by current visions and interests. As records of the past and collective consciousness of our society we add and drop events and elements from it. Knowingly or not, we constantly reshuffle the emphasis given to the different events and processes that have shaped our present time. All hi-stories are subjective by nature, and that gives the past its constant fluctuation. We look at history and it looks back at us. As we “look” at history on the faces of the art works in this program, we see the changing appearance of normality. Here we can witness a multitude of histories and the sense normalities that have passed away and melted into thin air. In that very moment when history exposes this alteration in front of my eyes I feel the shiver of the inevitable loss of my own normality. Our common senses will not survive another decade because they are just as time based and ephemeral as film and video. Every film and video work in this exhibition is an image of history. These works open truthful and not just metaphorical windows to our past.  Unlike remains from the Stone Age, these audio-visual artefacts do not require the assistance of an expert for interpretation and understanding. They speak our everyday audio-visual languages. In the same manner these works present the naïveté of technology and the medium in its early stages of development. In most of them the medium has lost its transparency and has become opaque. With only a glimpse, we can recognise its period and wonder about its technological and cultural implications. Perhaps then we come closer to understanding how the media can “invest our lives with artificial perceptions and arbitrary values”. **  (Farhad KALANTARY)
* Fredrick Jameson, The Political Unconscious: Narrative as a Socially Symbolic Act, (NY: Cornell UP, 1981), Preface.
** Marshall McLuhan, Understanding Media, (The MIT Press, 1994), p. 199.



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