Ce mémoire de maîtrise porte sur l’animation des images fixes dans le film Me and You and Everyone we Know réalisé en 2005 par Miranda July, et tout particulièrement sur les pratiques artistiques de la protagoniste Christine Jeperson, qui est artiste vidéaste. L’objet de cette étude se fonde sur les matériaux utilisés par l’artiste-protagoniste elle-même, et vise en premier la photographie, puisqu’elle travaille toujours à partir de photos amateur, de clichés, d’images banales, qu’elle tente d’animer par le biais de la vidéo et de leur mise en récit. Ces deux dispositifs d’animation, qui à leur façon redonnent du temps et du mouvement aux images, réalisent un déplacement de valeur en en faisant de l’art et déploient du même coup un espace propre à une certaine expérience esthétique du spectateur, car c’est dans son imaginaire que peut véritablement se produire l’animation de ces images. Ainsi, dans ce mémoire, je tenterai tout à la fois de me concentrer sur ce détail du film que sont les œuvres de Christine, mais en cherchant à les mettre en relation avec d’autres moments du film, avec ce qui semble être les motifs privilégiés de la pratique de Miranda July, de même qu’avec d’autres moments de l’histoire de l’art, afin d’en historiciser la démarche. Ce travail servira donc à éclairer une pratique d’images contemporaine singulière, à la croisée entre photographie, vidéo et film. / This Master’s thesis deals with the animation of still images in Miranda July’s 2005 film, Me and You and Everyone we Know. More specifically, it analyses the artistic practices of Christine Jeperson, a video artist who is the main character of the film. This study focuses on the materials utilized by the artist-protagonist and looks at her particular use of photography: her video works all revolve around amateur photographs, clichés, banal images, that she animates via the remediation of video and "narrativization" ("mise en récit"). These two principles of animation, that give time and motion to the still images she uses, also produce a displacement of value by turning these images into art and, by the same token, open a specific space i.e. the aesthetic experience of the spectator, for it is in his or her imaginary, in the end, that this animation is produced. Thus, in this study, I wish to look at these “details” within the films — the video works of Christine — whilst seeking to show the relations they entertain with other elements of the film, with Miranda July’s body of works, as well as with other moments in art history that relate to this animation apparatus, in order to historicize the practices of Christine / July. This Master’s Thesis wishes to illuminate a specific kind of contemporary visual practice, at the intersection of photography, video and film.

La problématique essentielle de la présente recherche découle de l’intuition qu’il y aurait à l’intérieur du régime contemporain de l’art, et ce malgré le caractère à première vue très hétérogène de ses expressions artistiques, un moment esthétique commun, un moment commun de forme et d’investigation conceptuelle, qui s’est défini, tout au long de ce travail, comme la notion d’esthétique de la durée. Ce terme théorique, qui englobe aussi bien un certain nombre d’installations, d’images contemporaines en mouvement conçues pour l’exposition à l’intérieur des espaces muséaux ainsi que de productions cinématographiques, n’est pas réductible au concept de la durée bergsonienne, même s’il s’y apparente par certains aspects, notamment par l’idée du devenir en tant que changement d’état et de qualité, devenu le principe esthétique d’une grande majorité des œuvres contemporaines. La notion de durée se trouve ainsi à l’origine d’une nouvelle conceptualisation de la forme de l’œuvre d’art et travaille au cœur même de la constitution d’une pensée esthétique singulière qui définit le régime contemporain de l’art en tant que régime de pensée indépendant que nous proposons de qualifier de conceptuel. / The main topic of this work develops from the intuition that there would be, inside the contemporary regime of art - despite the impression of extreme heterogeneity that its artistic expressions could give at first sight - a common aesthetic moment, a common moment of form and conceptual investigation, that will be defined throughout this work as the notion of Aesthetics of Duration. Such a theoretical notion refers to a certain number of installations, contemporary moving images created for museum space as well as cinematographic productions. However, it does not only involve Henri Bergson’s concept of Duration even though the theory echoes it in several ways, such as the idea of becoming as a change of quality. The approach turns out to be at the origin of a new conceptualization of the very form of works of art. Deeply influencing the development of a singular aesthetic approach, The Aesthetics of Duration defines the contemporary artistic regime as an independent regime of thought that could be qualified as conceptual.

<p>Cilj istraživanja je konstrukcija profesionalnog<br />identiteta vizuelnih umetnica koje stvaraju u<br />Vojvodini krajem 20. i početkom 21. veka,<br />analiza njihovog umetničkog rada i života,<br />ukazivanje na mogućnosti njihovog povoljnijeg<br />položaja.<br />Hipoteza 1: Nedovoljna je valorizacija<br />vizuelnih umetnica Vojvodine, naročito onih<br />koje se bave novim tehnologijama.<br />Hipoteza 2: Nevidljiv je njihov doprinos<br />značaju za razvoj aktuelne umetničke prakse i u<br />sistemu visokog obrazovanja.<br />Hipoteza 3: Značaj umetničkog rada ovih<br />vizuelnih umetnica ne prepoznaju masovni<br />mediji, &scaron;to jo&scaron; vi&scaron;e doprinosi njihovoj<br />nevidljivosti u javnosti.<br />U istraživanju su primenjene analize:<br />svedočenja (intervjui) umetnica; analize<br />tekstova o umetnicama, analize umetničkih<br />radova umetnica.<br />Osnovni korpus istraživanja čine razgovori<br />autorke sa umetnicama, ukupno 12 umetnica<br />vezane za Vojvodinu, tekstovi o njima i njihovi<br />umetnički radovi.<br />Rezultati istraživanja su pokazali da je<br />umetnicama profesionalni identitet<br />najistaknutiji, ostalim pristupaju kao<br />promenljivim kategorijama; da pridaju važnost<br />preno&scaron;enju znanja i formiranju novih kadrova,<br />te uvođenju ženskog identiteta u umetnost;<br />ističu da im nedostaje finansijska sigurnost u<br />profesiji, te da re&scaron;enje vide u udruživanju i<br />izgradnji mreže saradnica (međugeneracijskih,<br />umetničkih, interdisciplinarnih, lokalnih,<br />regionalnih i internacionalnih).<br />Zaključujem da je istraživanje ukazalo da su<br />umetnice koje se bave novim medijima u<br />Vojvodini delimično valorizovane. O njima je<br />pisan veći broj tekstova, ali su oni rasutu po<br />različitim izvorima, na mnogim jezicima i<br />mestima (lokalno, regionalno, internacionalno).</p><p>Politika institucija kulture im nije posvetila<br />dovoljno pažnje kada su u pitanju monografske<br />publikacije i retrospektivne izložbe, otkupi<br />umetničkih radova i sl. Njihov doprinos nije<br />dovoljno vidljiv u sistemu visokog obrazovanja,<br />a značaj njihovog umetničkog rada ne<br />prepoznaju dovoljno mas-mediji.<br />Istraživanjem su prvi put umetnice koje se bave<br />novim medijima u Vojvodini krajem 20. i<br />početkom 21. veka okupljene u jednu celinu.<br />Izneti podaci o njihovoj generacijskoj,<br />medijskoj, umetničkoj i drugoj povezanosti<br />predstavljaju samo početak budućih istraživanja<br />u okviru istorije i teorije umetnosti. Za njih je<br />izgrađivanje profesionalnog identiteta kao<br />bogatstva različitosti najvažnije, ali je on<br />uklopljen u mnogostruke ženske mreže i<br />povezanosti jer je to jedan od načina njegovog<br />razvoja i opstanka.<br />Ukupni podaci o različitim aspektima identiteta<br />umetnica novih medija mogu doprineti op&scaron;toj<br />diskusiji o prirodi identiteta.<br />Preporuka je da se uspostavi sistem čuvanja ne<br />samo radova, već arhiviranja dokumentacije o<br />umetnicama novih medija budući da su podaci<br />rasuti po različitim izvorima i privatnim<br />kolekcijama, slabo dostupni javnosti; da se u<br />galerijama i muzejima koji nemaju posebno<br />izdvojena sredstva za mlade umetnike/ce, za<br />produkciju umetničkih radova i sl. uvede slična<br />praksa; takođe nedovoljno kritičara i kritičarki<br />koji prate nove medije predstavlja problem koji<br />treba re&scaron;avati.<br />Iz svega izloženog pokazali smo da je reč o<br />umetničkim izrazima i umetničkim praksama<br />koje osvajaju prostor i otuda je prvi važan<br />rezultat analize u ovom radu to &scaron;to su na<br />jednom mestu pokazane različite prakse i to<br />tako da se sučeljavaju ocene o njihovom radu sa<br />svedočenjem samih umetnica o sopstvenim<br />radovima i dilemama.</p><p>&nbsp;</p> / <p>The aim of the research is the construction of<br />the professional identity of female visual artists<br />who are creating in Vojvodina in the late 20th</p><p>and early 21st century, an analysis of their<br />artistic work and life, pointing to the<br />possibilities of their favorable position.<br />Hypothesis 1: Valorization of female visual<br />artists of Vojvodina is insufficient, especially<br />those dealing with new technologies.<br />Hypothesis 2: Their contribution for the<br />development of current art practice and in the<br />higher education system is invisible.<br />Hypothesis 3: The importance of the artistic<br />work of these female visual artists is not<br />recognized by the mass media, which further<br />contributes to their invisibility in the public.<br />The research involved these analyzes: female<br />artists testimonies (interviews); analysis of texts<br />about female artists, analyzes of art works by<br />female artists.<br />The main research corpus is the interviews of<br />the author with female artists, a total of 12<br />female artists related to Vojvodina, texts about<br />them and their art works.<br />The results of the research have shown that for<br />the female artists the professional identity is the<br />most prominent identity, to other identities they<br />approach as to variable categories; they give<br />importance to the transfer of knowledge, to the<br />formation of new personnel and to the<br />introduction of women&#39;s identity in art;<br />emphasize that they lack financial confidence in<br />the profession and that they see the solution in<br />the merging and building of a network of<br />collaborators (intergenerational, artistic,<br />interdisciplinary, local, regional and<br />international).<br />I conclude that the research indicated that<br />female artists dealing with new media in<br />Vojvodina are partially valorized. A number of<br />texts are written about them, but they are spread<br />across different sources, in many languages and<br />places (locally, regionally, internationally). The<br />politics of the cultural institutions did not give</p><p>them enough attention when it comes to<br />monographic publications and retrospective<br />exhibitions, the purchase of art works, etc. Their<br />contribution is not sufficiently visible in the<br />higher education system and the importance of<br />their artistic work is not sufficiently recognized<br />by mass media.<br />This research is the first time that female artists<br />who are engaged in new media art in Vojvodina<br />in the late 20th and early 21st century have been<br />integrated into one whole. The presented data<br />on their generational, media, artistic and other<br />connections are only the beginning of future<br />research within the history and theory of art.<br />For them, building the professional identity as<br />the wealth of diversity is the most important,<br />but it is integrated into multiple women&#39;s<br />networks and connections because it is one of<br />the ways of its development and survival.<br />The overall data on different aspects of the<br />identity of female new media artists can<br />contribute to a general discussion of the nature<br />of identity.<br />It is recommended to establish a system for<br />storing not only works, but also archiving<br />documentation about female new media artists,<br />since the data that is scattered across different<br />sources and private collections is not readily<br />available to the public; that in galleries and<br />museums that do not have special funds<br />allocated for young artists/female artists, for the<br />production of works of art, etc., introduce<br />similar practices; also insufficient critics and<br />female critics who follow new media art is a<br />problem that needs to be addressed.<br />From all of the exhibited we have shown that it<br />is about artistic expressions and artistic<br />practices that conquer space and hence the first<br />important result of the analysis in this paper is<br />that different practices have been shown in one<br />place, so that the evaluation of their work is<br />confronted with the testimony of the female</p><p>artists themselves about their own works and<br />dilemmas.</p><p>&nbsp;</p>

The Dissertation titled Documentary Approaches in Contemporary Fine Art Moving Image focuses on the practical and theoretical research of documentary approaches to videos and films in the art field. It notices especially the self-reflexive strategies as a consequence of critical approach towards the medium itself and lack of belief in its ability to mediate reality or truth. Attempts to convey reality by audiovisual means are accompanied by the reflection of the way this happens. The Dissertation also reflects on the uncertain relation between the documentary and truth, which has been described in art by the artist and theoretician Hito Steyerl. The examined artworks were made in the period between the beginning of 21st century, when the documentary turn was reflected intensively, and the present time. The selection of examples was strongly influenced by the local study of Israeli art in The Video Archive of the Center for Contemporary Art in Tel Aviv. Motives of conflict, violence and trauma resonating in studied videos and films influenced further selection and analysis of the authors’ documentary methods from a different context. In the selected works I can see particularly various forms of alienation effects and self-reflexive approaches. Using these procedures the artists highlight the constructedness of the audiovisual work and the way it was produced. Recurring formal principles have been stated. Reenactment of real events, revealing the way the work was produced or the artist’s position in the production process; these strategies indicate the uncertain relationship between the documentary work and reality. In the frame of these tendencies also reevaluation of the observational documentary strategies as something seemingly opposite to self-reflexive strategies is reviewed. Theoretical outcomes are continuously accompanied by author’s own art projects concentrated around the form of documentary portrait and its (de)construction. They experiment with the formal principles analyzed on a theoretical level.

This thesis aims to analyze Dorothy Cross’s sculptural, installation, and video works in relation to Ireland’s Post-Conflict struggle with its cultural and global identity. Throughout the course of history, Ireland’s identity has always been in question, sparking new interest over the last thirty years in producing an Irish identity discerned by “hybridity, multiplicity, and mobility.”[1] Declan McGonagle states that the traditional Irish constructs of gender and sexuality were primarily challenged by Dorothy Cross during this period of rapid sociopolitical change.[2] Cross consistently deconstructs pre-Christian Mother Ireland and patriarchal Catholic Ireland in her early sculptural works, and ultimately transitions towards communicating a collective identity rooted in loss and desire. [3] The constructions of gendered, cultural, and collective identity are dismantled across multiple media throughout Cross’s oeuvre, which can be analyzed through a synthesis of poststructuralist, postmodern, and French feminist theory. In evaluating Dorothy Cross’s destabilization of identity, I will expand the literature on contemporary Irish art during the nation’s turbulent time of globalization, which has been underemphasized in the study of contemporary European art. [1] Robin Lydenberg, “Contemporary Irish Art on the Move: At Home and Abroad with Dorothy Cross,” Éire-Ireland: a Journal of Irish Studies 39, no. 3/4 (2004): 145. [2] Declan McGonagle, Fintan O’Toole, and Kim Levin, Irish Art Now: From the Poetic to the Political (London: Merrell Publishers Ltd., 1999): 19. [3] Enrique Juncosa and Sean Kissane, eds, Dorothy Cross (Milan: Edizioni Charta, 2005), 16.

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This thesis examines the philosophical notion of selfhood in visual representation. I introduce the self as a modern and postmodern concept and argue that there is a loss of selfhood in contemporary culture. Via Jacques Derrida, Jean-Luc Nancy, Gerhard Richter and the method of deconstruction of language, I theorise selfhood through the figurative and literal analysis of duration, the frame, and the mirror. In this approach, selfhood is understood as aesthetic-ontological relation and construction based on specific techniques of the self. In the first part of the study, I argue for a presentational rather than representational perspective concerning selfhood by translating the photograph Self in the Mirror (1964), the painting Las Meninas (1656), and the video Cornered (1988), into my conception of a cinematic theory of selfhood. Based on the presentation of selfhood in those works, the viewer establishes a cinematic relation to the visual self that extends and transgresses the boundaries of inside and outside, presence and absence, and here and there. In the second part, I interpret epistemic scenes of cinematic works as durational scenes in which selfhood is exposed with respect to the forces of time and space. My close readings of epistemic scenes of the films The Congress (2013), and Boyhood (2014) propose that cinema is a philosophical mirror collecting loss of selfhood over time for the viewer. Further, the cinematic concert A Trip to Japan, Revisited (2013), and the hyper-film Cool World (1992) disperse a spatial sense of selfhood for the viewer. In the third part, I examine moments of selfhood and the forces of death, survival, and love in the practice of contemporary cinematic portraiture in Joshua Oppenheimer’s, Michael Glawogger’s, and Yorgos Lanthimos’ work. While the force of death is interpreted in the portrait of perpetrators in The Act of Killing (2013), and The Look of Silence (2014), the force of survival in the longing for life is analysed in Megacities (1998), Workingman’s death (2005), and Whores’ Glory (2011). Lastly, Dogtooth (2009), Alps (2011), and The Lobster (2015) present the contemporary human condition as a lost intuition of relationality epitomised in love.

This thesis describes how I took part in a series of collaborations with dancers Danai Pappa and Katie Hall, musician George Williams and video artist Julie Kuzminska. To realise our collaborations, I built electronic sculptural instruments from junk using bricolage, the act of subversion, skip diving and appropriation. From an auto-ethnographic viewpoint, I explored how collaborations began, how relationships developed and how various levels of expertise across different disciplines were negotiated. I examined how the documentation of the performances related to, and could be realised as, video art in their own right. I investigated the themes of work, labour and effort that are used in the process of producing and documenting these works in order to better understand how to ‘create’. I analysed the gender dynamics that existed between my collaborators and myself, which led to the exploration of issues around interaction and intimacy, democratic roles and live art. The resulting works challenged gender stereotypes, the notion of what a musical instrument can be and how sound is produced through action/interaction. I found that reflective time was imperative; serendipity, constant awareness of one’s environment, community and intimate relationships greatly enhanced the success of the collaborations. Instruments became conduits and instigators with shifting implied genders based on their context or creative use. As well as sound being a product of movement, effort and interaction, I realised it was also an artefact of the instruments.