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About 2010 Cinema
The space in which 2010 Cinema takes place was not predetermined. Rather, it was an outgrowth of the participating artists’ moving image practice. This cinematic space not only show the artists’ film, it also is a dynamic reflection of how their creative process of moving image practice could shape the space. Without the artists’ film production, the “production of space” could not exist. As the space inspires the artists’ practice as well, the interaction between the practice of space and moving image will be constantly shifting and moving on.
2010 Cinema : The Background
2010 Cinema was born from the dynamic fact that: an increasing number of the artists within Asian context (Cao Fei, Chen Chieh-jen, Jun Yang, Ming Wong, Yang Fudong ect.) have boldly practiced filmmaking from the open entry of contemporary art context, introducing concepts and practices far removed from those of the traditional film industry. As a result, contemporary art has the opportunity to leave behind familiar exhibition spaces and production methods and enter previously unexplored territory. A number of film directors as well (such as Apichatpong Weerasethakul, Ming-liang Tsai ect.) are utilizing multidisciplinary techniques to explore questions of expression in contemporary art. The influence of contemporary cinema and traditional film on contemporary art has consequently become an indispensable dimension of art appreciation.
What is particularly notable is this: the development of moving image practices in the Chinese and Asian environment is one that is beyond the system of mainstream film production. It is not meant to be something produced in the mould of film aesthetics; rather it is an act of contemporary art creation that uses the image as a foundation for reflection. It endeavours to dismantle the privileges accorded to film “history”; it is often related to the artists’ investigation into and reconstitution of historical memory (of a country or the individual), or to their examination of how this world can be “possibly conceived” through images. From here, the image then frees itself from the filmic network, and extends itself towards an individual journey. By dint of this new concept of the image, we depart from familiar form, structure, perceptions, exhibition spaces and production systems, thus allowing the visual that is ultimately generated to be directed towards the exploration of the possibility of what Deleuze refers to as “movement-image”.
2010 Cinema :The Space
The exhibition space for 2010 Cinema consists of three different cinematic spaces (the Film Installation, the Black Box for single film, and the Living Room for series of video programs) and a Garden that contains film archives and literary materials. Together, they form a multi-functional complex of cinema. This space was developed after analyzing traditional movie theaters and exploring new options for exhibiting, studying, and distributing artist-produced films. By breaking down the boundaries between the film industry and the art gallery system, 2010 Cinema considers how spaces and structures can be a dynamic reflection of the artists’ creative process, and therefore cannot be considered separately from the films and videos it contains. It is a fundamental element of the viewer’s experience, offering full interactivity and unconstrained viewing. The viewer can wander freely through the garden and three theaters, encountering a wide range of cinematic works. The viewer is encouraged to contemplate and internalize the works in a nonlinear fashion, encouraging a new experience of time and space. The acts of viewing and being viewed are no longer unilateral experiences but rather occur simultaneously, mutually contributing to a continually renewing cinematic experience.
No more, the one-way street
Of see, and be seen.
Instead, we discover together
A space of moving images
That keeps growing