Interior Architecture and Environmental Design Department Lecture:
\nThrough a Museum Window: Tacita Dean\u2019s FILM and the Substance of Contemporary Site-Specific Art<\/p>\n
Date: 10\/04\/2018 Tuesday
\nTime, Place: 13:30, FFB-05<\/p>\n
Bio:
\nDr. Ekin P\u0131nar received her Ph.D. from the History of Art department at the University of Pennsylvania. She received her B.Arch. from Middle East Technical University in Architecture and her two M.A\u2019s from University of Pennsylvania in History of Art and Middle East Technical University in History of Art and Architecture, respectively. Her areas of interest include cinematic sites and spaces, site-specific art and film, history and theory of animation, new media environments and spectatorship, expanded cinema, contemporary art, and gender and sexuality studies. She has taught several courses on basic design, history and theory of architecture, film, animation, and contemporary art at the University of Pennsylvania, Franklin and Marshall College, as well as Middle East Technical University.<\/p>\n
Abstract:
\nTacita Dean\u2019s 11-minute moving image installation titled FILM opened at Tate Modern in the October of 2011. Propelled by the impending obsolescence of the analogue film format in the face of the rise of the digital, Tacita Dean made a \u201cportrait of the film itself\u201d in her 11-minute moving image installation titled FILM. Such self-reflexivity has almost exclusively shaped the existing scholarship on FILM, even though Dean designed the installation specifically for Tate Modern\u2019s Turbine Hall. Yet, without a comprehensive consideration of the profound relationship between Dean\u2019s moving image installation and the architecture as well as the history of Turbine Hall, any attempt to analyze FILM overlooks the broader cultural and historical ramifications of the work. In Through a close visual analysis of both FILM and its exhibition space, I argue that Dean\u2019s work sets up a complex relationship with the Turbine Hall not merely through its scale and positioning, but also, and more profoundly, through its pronounced emphasis on the tension between indexicality and animation. Furthermore, FILM imposes an implicit critique to the museum institution and its politics of spectacle. Unlike other commissioned works of Unilever Series at Turbine Hall such as Olafur Eliasson\u2019s The Weather Project (2003), Ai Weiwei\u2019s Sunflower Seeds (2010), and Rachel Whiteread\u2019s Embankment (2005), FILM neither perceptually transforms the vast space of the Turbine Hall, nor is it dwarfed by it. Instead, the installation connects to its viewers in intimate, non-spectacular ways that relies on tactility. Focusing on the spatial and institutional politics of FILM, I intend to question the implications and limitations of \u201csite-specificity\u201d in the contemporary art scene while reconsidering the art and museum world\u2019s loosely-defined concepts of \u201cpublic\u201d and \u201cpublic space.\u201d<\/p>\n","protected":false},"excerpt":{"rendered":"
Interior Architecture and Environmental Design Department Lecture: Through a Museum Window: Tacita Dean\u2019s FILM and the Substance of Contemporary Site-Specific Art Date: 10\/04\/2018 Tuesday Time, Place: 13:30, FFB-05 Bio: Dr. Ekin P\u0131nar received her Ph.D. from the History of Art department at the University of Pennsylvania. She received her B.Arch. [\u2026] <\/p>\n