The constitutive elements of film production (image, sound and time) serve here as both the mediums and subjects of a specific examination of the seventh art, relating to the imagination: the ability to represent a world for oneself through thought. All sources – drawn, painted, recorded, photographed, etched, sampled, modelled, or musical images – are to be compiled, cut, organised, structured, ordered and balanced.
Documentary approaches are unique. They open up all kinds of stagings and perspectives of reality, all kinds of imaginings. They build bridges towards all art forms, and promote trial and error. They fall within the political and human domains, fostering sensitive aesthetic experiences.
This class looks at presentation – dissemination/display/broadcast/distribution, or existence via materialisation – in terms of the artwork’s relationship to space and to the audience. This is the realm of possibility for sensitive experiences, exchanges and encounters. These notions are explored by questioning shifts and misalignments of the spectator’s position, by spatialising propositions, and by causing installations or constructions for film screenings to resonate through physical and temporal arrangement.