Course: “Screening Artists’ Cinema”
Do you want to add variety to your organization’s film program but feel short on inspiration? Have you thought about showing artists' films but aren't sure where to start? Do you want practical advice on sourcing and screening this work? Are you interested in finding out how to cultivate audience interest in artists' cinema?
FICUNAM brings to Mexico the prestigious course developed by The Independent Cinema Office and LUX. The course has been presented in various museums, film theaters, festivals and galleries such as the Tate Gallery Liverpool, where the course is given annually.
LUX is a UK-based art agency which supports and promotes artists working with the moving image. The Independent Cinema Office is the national organization for the development and support of independent film exhibition in the UK.
Course outline:
This in-depth artists' moving image course will be run during the festival drawing from the curators and other festival guests, the course will offer participants an opportunity to learn about curating and programming artists' moving image across a range of contexts. The course will include an introduction to the history and exhibition of artists' moving image; approaches to curating and programming work, including a number of illustrated successful case studies; creative approaches to developing audiences and marketing including the development of marketing and contextual materials; an introduction to the key organizations and festivals working in the sector; and approaches to sourcing works and working with artists. It will also feature a workshop in which participants will develop potential exhibition projects and present them to an expert panel for discussion and feedback. As the course will take place during the festival, it will also offer an unprecedented access to networking and seeing new work.
The course is for programming, marketing and education staff of:
• Cinemas, film festivals and film societies who want to start or develop a program of artists' films.
• Cross arts venues and organizations who want to integrate their cinema and gallery more comprehensively
• Galleries and museums interested in forging links with cinemas
• Independent curators working with film and video.
The course offers an accessible and practical introduction to:
• A brief history of artists' moving image: exhibition and practice
• Curating: Key approaches and techniques for presenting work
• Audiences: Effective and creative approaches to audience development
• Marketing: Overcoming barriers to audience interest and creating successful promotional materials
• Case studies of successful projects
• Key organizations and potential partners
• Networking opportunities.
• Commissioning and working with artists
• Funding and partnership opportunities
Also there will be room for group discussion and networking as well as opportunities to develop individual artists' film projects that you are working on, with advice from experts on curation, practicalities, partnerships and budgets.
Registration Fee: $500 pesos M.N.
* UNAM students can get full financial aid.
Requirements:
Send statement of intent and CV to:
curso@ficunam.org
Program
Friday, February 24, 10.00-18.00
10.00 – 10.30.
Presentation
This introduction to the participants and their organizations will allow them to share their experience and their interest in the subject.
10.30 – 11.15.
A Brief Introduction to the History of the Artists’ Moving Image: Exhibiting & Praxis. [George Clark]
11.15 - 11.30
Screening 1
11.30 – 12.15
From the Idea to the Exhibition: Sourcing and Programming Exhibitions of Artists’ Moving Image. [George Clark]
This is a presentation on the approaches to the curator work for film and video; from screening options to information and research sources; a view on the historical work and the ways to approach archives and distributors.
12.15 – 12.30
Coffee Break.
12.30 – 13:30
Exhibiting in the National Context — Projects and Programs in Mexico
Our participant guests, Michel Blancsubé (Colección Fundación Jumex) and Magnolia de la Garza (Museo Tamayo) talk about the challenges and the options for the exhibition of the artists’ work in film and video in Mexico.
13:30 – 14:30
Lunch Pause.
14:30 – 15:15
Artist’s Presentation.
Our guest artist, Abraham Cruzvillegas, discusses his most recent projects and the dynamics for the work, production and exhibition processes in Mexico and abroad.
15:00 – 16:30
Screening 2. Group Discussion.
16:30 – 16:45
Coffee Break.
16:45 – 17:30
Case Studies: International Curators
Our participant guests Jean-Pierre Rehm (FidMarseille, France) and Juan A. Gaitán (Witte de With, Amsterdam) talk about their experiences screening artists’ films and videos in festivals, museums, and galleries.
17:30 – 17:45
Final Discussion
18:00
Invitation to the FICUNAM screenings in the program: “The Artists’ Moving Images”.
Films to be screened during the course:
A Portrait of Ga (Margurite Tait, 1952)
Now (Santiago Alvarez, 1965)
Home Stories (Mattias Muller, 1990)
Magnetic Movie (Semiconductor, 2007)
Kustom Kar Kommandos (Kenneth Anger, 1965)
Blue Monday (Duvet Brothers, 1984)
A Study of Relationships between Inner and Outer Space (David Lamelas, 1969)
This Is My Land (Ben Rivers, 2006)
Alone. Life Wastes Andy Hardy (Martin Arnold, 1998)
Anthem (Apichatpong Weerasethakul, 2006)
Speakers
George Clark
Is a writer, curator and artist based in London and Los Angeles. His most recent project as a curator includes Infermental for Focal Ponit Gallery (Southend-on-Sea, UK, 2010) with Dan Kidner and James Richards; and No Wave: New York 1976-1982 (Glasgow Film Festival, Worm, Rotterdam and Cinéma Nova, Brussels, 2011). He was appointed Artists Moving Image Development Officer at the Independent Cinema Office between 2006 and 2008. His work includes Essentials: The Secret Masterpieces of Cinema (Tate Modern, London; in tour since 2008) and Artist and Icons (American tour between 2006 and 2007). He collaborates as a curator with the 6th Bangkok Experimental Film Festival (BEFF, 2012), and he curated a program of Lav Diaz’ work at the AV Festival, Newscastle, 2012. He has publishes texts in: Afterall; Art Monthly, Mousse Magazine, Senses of Cinema and Sight & Sound. He collaborated with Beatrice Gibson in a script for the film The Future's Getting Old Like the Rest of Us (2010).
OJOOJOOJO: Pásenle un corrector a esta bio en español, tiene varios problemas ya corregidos en ingles.
Magnolia de la Garza
Magnolia de la Garza studied Art History at the Universidad Iberoamericana, in Mexico, and at the École du Louvre and The Sorbonne, in Paris. She finished graduated courses in Critic & Communication at the Gerona University. Since 2009, she is an associated curator at Museo Tamayo.
Michel Blancsubé
Was born in Vanves, France, in 1958. He was an assistant curator at the Contemporary Art Museum of Marseille, between 1996 y 2001. That year, he was appointed as the Head of the Registration Department at the Fundación/Colección Jumex, based in Ecatepec. He has been the curator of the exhbitions Esquiador en el fondo de un pozo (2006), Entre patio y jardín (2007), Schweiz über alles (2008), El norte del sur (2008), and In Memorian Albert Hoffman (2008).
Les enfants terribles (2009), Mónica Espinosa El peso del mundo (2010), Carlos Amorales Vivir por fuera de la casa de uno (2010), ¡Sin techo está pelón! (2010), antes/después (2011) and Historias de A. (2011).
Abraham Cruzvillegas (Mexico City, 1968)
Is a member of the International Society of Taoist Tai Chi. He studied Pedagogy at the National Autonomous University of Mexico and was part of Gabriel Orozco’s working group from 1987 to 1991. His work has been exhibited at the Contemporary Art Museum-Houston, the Museum of Contemporary Art Chicago, the Redcat Gallery in Los Angeles, the Tate Modern Gallery in London, the Centro Cultural Monte Hermoso in Spain, the New Museum in New York, Modern Art Oxford, Le Carré, Nimes, Artsonje, Seoul, among others. He lives and works in Mexico City.
In 1994, he participated at the 5th Havana Biennale; in 2002, at the 25th São Paulo Biennale; in 2003, at the 50th Venice Biennale; in 2005, at the First Torino Triennial; in 2008, at the 41st Salón de Artistas/Cali Biennale, at the 10th Havana Biennale, and at the 7th Mercosur Biennale, in Portoalegre. In 2010, he participated in the 5th Porn Film Festival, in Berlin; in 2011, he participated in the 12th Istanbul Biennale.
Since 1990, Cruzvillegas has given lectures and tutorials and he has also coordinated symposiums and workshops at many learning institutions devoted to art at an international level, such as: DIA Art Foundation, Malmö Art Academy, Ruskin College-Oxford, Duke University, NYU, Glasgow School of Art, CalArts, the New Museum, California College for the Arts, the Nasher Museum of Art, the Museum of Contemporary Art Chicago, Tate Modern, the Guggenheim Museum, the University of Houston, Universidad Nacional Iberoamericana, Guanajuato University, Museo Tamayo, Centro de la Imagen, Centro Nacional de las Artes, Sonora University, Universidad de Las Américas, San Francisco Art Institute, UCLA, UCSD, ENAP-UNAM, and La Esmeralda.
He has also authored essays and art critic texts in journals and specialized catalogues such as: Bomb Magazine, Bidoun Magazine, Artforum, Gagarin, Curare, Casper, and the Mexico City newspapers Reforma and La Jornada, among others.
Juan A. Gaitán
Curator for the Witte de With, Amsterdam, since 2009, he studied Art History and Aesthetics Theory at the University of British Columbia in Vancouver. One of his exhibitions outside from the Witte de With is Models for Taking Part (2011), exhibited at the Presentation House, Vancouver, and at the Justina M. Barniche Gallery, Vancouver. His most recent essay, The Exhibitionist, was published in Afterall as part of the series Ten Fundamental Questions of Curating of Mousse magazine.
Jean-Pierre Rehm (Algiers, 1961)
Graduated from the Higher Learning Teacher School and a specialist in Modern Literature and Philosophy, he has combined his work as a professor in various art schools (Art and Film History & Theory) with his a career as a cultural manager and exhibition curator (Cairo Modern Art Museum, Yokohama At Center in Japan, and the Fondation Caixa in Barcelona). Rehm is a renowned film critic and the director of the prestigious International Documentary Film Festival of Marseille (FIDMarseille) since 2001.