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• W862555260 abstract "TACITA DEAN FILMTate Modern, London11 October 2011 - 11 March 2012Film is chemistry: chemistry that has produced miracle of moving - Tacita DeanIn February 201 1, London-based Soho Film Lab, recently taken over by American company Deluxe, announced that it was discontinuing its 16mm printing services with immediate effect. This had been only remaining 16mm lab in UK, and thus a vital resource for British experimental filmmaking community. Days later, on February 22, Guardian newspaper published an eloquent polemic by Tacita Dean, one of UK's most outspoken supporters of 16mm, that made clear devastating consequences of such industrial decisions on film as an art form. An online petition, signed by 5,849 people, was presented to Ron Perelman, owner of Deluxe, to no effect. As Dean pointed out in her article: Printing 16mm is an irritant to them, as it is time away from printing feature films, and features are industry and all that matters.1 This is, of course, part of a much bigger picture, with which any artist working with celluloid is now only too familiar: as digital technologies render analog filmmaking obsolete, gap between film as a commercial industry and film as an art form becomes dangerously pronounced. No matter that celluloidbased practice is as unique as oil painting, as film industry makes its universal transition to digital, artists mourning immanent loss of their medium are told to move on: evolve or die. Dean challenged this state of affairs beautifully in Guardian piece, echoing sentiments of artists, academics and film lovers world over:Many of us are exhausted from grieving over dismantling of analogue technologies. Digital is not better than analogue, but different. What we are asking for is co-existence: that analogue film might be allowed to remain an option for those who want it, and for ascendency of one not to have to mean extinguishing of another.2Dean's commission for Tate Modern's Turbine Hall directly emerged from and responded to this context. It was, to all intents and purposes, a monument to film - one perfectly designed to both draw on and draw out epic proportions of Turbine Hall itself. The previous commission - Ai Weiwei's Sunflower Seeds - had seen 100m handpainted porcelain seeds spread across surface of Hall in a mind-boggling conflation of micro and macro. Dean's FILM- 12th commission in Unilever Series, and first to focus on moving image - seemed like perfect follow-up. Dean took inspiration for die project from Rene Daumal's Mount Anakgue, an allegorical novel first published in 1952 that centers on a mysterious mountain reaching into eternity, hidden from normal perception by laws of time and space, but visible to those that believe in its existence. This became, for Dean, a metaphor for film itself, as it enters the illusory domain of being there only for those willing to board The Impossible '.3 FILM, then, is Dean's Mount Anakgue: standing 13-meters-high at far end of darkened Turbine Hall, it easily conjured up feelings of awe and a sense of sublime.The space itself seems to have been turned into a sacred place of worship, as visitors consider work with respectful silence and reverence. detect an air of uncertainty about whether immense space between projection and single bench at other end of hall is meant to invite interaction with image or quiet contemplation from a distance. note that, apart from a brave few, most of visitors have chosen latter; or maybe it chose them, it's hard to say. An artist friend standing next to me on balcony ruminates in hushed tones on Dean's techniques. I think can work out she did this, she whispers - how seems to be as important as what, as much a puzzle to be untangled as a spectacle to admire. …" @default.
• W862555260 created "2016-06-24" @default.
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• W862555260 date "2012-10-01" @default.
• W862555260 modified "2023-09-28" @default.
• W862555260 title "Tactica Dean Film" @default.
• W862555260 hasPublicationYear "2012" @default.
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