{"id":32065,"date":"2014-08-13T08:34:38","date_gmt":"2014-08-13T06:34:38","guid":{"rendered":"http:\/\/www.arshake.com\/archeology-of-cinema-at-the-whitechapel-gallery\/"},"modified":"2014-08-13T08:34:38","modified_gmt":"2014-08-13T06:34:38","slug":"archeology-of-cinema-at-the-whitechapel-gallery","status":"publish","type":"post","link":"https:\/\/www.arshake.com\/en\/archeology-of-cinema-at-the-whitechapel-gallery\/","title":{"rendered":"Archeology of cinema at the Whitechapel Gallery"},"content":{"rendered":"

\"4.<\/p>\n

\n

\u00a0Magic, illusion and science stand side by side in the history of images in motion. Examples of machinery, documents, and films in black and white belonging to the pre-cinematic era are presented at London\u2019s Whitechapel Gallery, a journey back in time that offers an in-depth look at the \u00abarchaeology of cinema.\u00bb[1]<\/span><\/a><\/sup><\/span><\/p>\n

The arrival of images in motion could be distinguished by the antecedent developments in photography and, centuries before, the magic lanterns of the XVII Century which were adopted as \u00abeyes that illuminate the invisible\u00bb (Brunetta). \u00abWhile looking at this transition in both historical and technical terms \u2013 states the curator Gaia Tedone in her essay for the catalogue – [the exhibition] attempts to articulate a parallel trajectory which considers the use of doubling as a suggestive vehicle to signal the apparition of another world. A world ruled by the laws of imagination, illusion and paranormal phenomena..[2]<\/span><\/a><\/sup><\/span><\/p>\n

The history of this passage overlaps with the one of the collections. This exhibit concludes a series dedicated to new approaches to collecting in England. Many pieces arrived from the Barnes brothers\u2019 collection, which have been collecting and preserving a wide assortment of ephemera and everything that revolves around the technologies of images in motion and products related to their diffusion since they were thirteen years old. Those presented in the exhibition are kept at the Hove Museum. The first movie cameras dating back to the early 20th<\/sup> century and examples of 19th<\/sup> century magic lanterns used for the very first animations and presented for the occasion of the project are also on loan from this collection as well as from the one belonging to The National Museum of Cinema in Turin (Italy).<\/p>\n

\"3.<\/p>\n

\u00a0The title, Twixt Two Worlds<\/i>, refers to the book of the same name in which John S. Farmer tells of the life and career of English illusionist William Eglington. \u00a0Several of his works are on display which illustrate the effect of double exposure and superimposition in photography, a fundamental premise for later experiments with film by pioneer George Albert Smith (1864-1959). The first magical lanterns were illusionistic as well, an impetus for the imagination, a magical application of the logic of the microscope and the recently invented telescope. In the 18th<\/sup> century, under the powerful influence of the philosophy of Enlightenment and after having surpassed the fascination for the unknown, magical lanterns developed into a tool of scientific divulgation before becoming obsolete \u2013 the same destiny reserved for all future technologies once they had been replaced by the progress of time.<\/p>\n

\u00a0Capturing a moment with longer exposure was what would lead Muybridge to experiment with photography in order to study motion in time through sequences which eventually developed and brought about the very first cinematic sequences. Brunetta explains in her essay that traces the history of image and its encounter with the dark room from Da Vinci to the Lumi\u00e8re brothers: \u00abCin\u00e9matographe is inserted within a chain of well-ordered visual inventions that took place with increasing rhythm since the discoveries of Ni\u00e9pce and Daguerre throughout the second half of the 19th<\/sup> century\u00bb[3]<\/span><\/a><\/sup><\/span> The facts speak for themselves: the Lumi\u00e8re brothers, aware that they were in the final stage of an ongoing path, defined their first experiments as photographies anim\u00e9e<\/i>, indicating them as an added value to the truly extraordinary discovery of photography.<\/p>\n

\u00a0A series of pre-cinematic films like those by the aforementioned George Albert Smith (1864 \u2013 1959) and pioneers of the Brighton school like James Williamson (1856-1933), Robert W. Paul (1869-1943) and William Friese-Greene (1855-1921) are made visible through modern technology. Issues regarding the preservation of these works grow in proportion to the evolution of technology and supports. It is therefore important to preserve as much documentation as possible and make it visible in order to provide historical continuity to contemporaneity by rediscovering its roots in the past when technology, which is now obsolete, was a novelty of absolute progress at the time.\u00a0 Contemporary artists are also on display: Douglas Gordon (b. 1966), Saskia Olde Wolbers (b. 1971), Steven Pippin (b. 1960) and Susan Hiller have all incorporated certain aspects of cinematic archaeology into their work, considering its iconic idiom.<\/p>\n

\"1<\/p>\n

A series of pre-cinematic films like those by the aforementioned George Albert Smith (1864 \u2013 1959) and pioneers of the Brighton school like James Williamson (1856-1933), Robert W. Paul (1869-1943) and William Friese-Greene (1855-1921) are made visible through modern technology. Issues regarding the preservation of these works grow in proportion to the evolution of technology and supports. It is therefore important to preserve as much documentation as possible and make it visible in order to provide historical continuity to contemporaneity by rediscovering its roots in the past when technology, which is now obsolete, was a novelty of absolute progress at the time.\u00a0 Contemporary artists are also on display: Douglas Gordon (b. 1966), Saskia Olde Wolbers (b. 1971), Steven Pippin (b. 1960) and Susan Hiller have all incorporated certain aspects of cinematic archaeology into their work, considering its iconic idiom.<\/p>\n

\n
Twixt Two Worlds, curated by Gaia Tedone, Contemporary Art Society,\u00a0Whitechapel Gallery\u2028<\/a>, 10.06\u2013 31.08. 2014, touring at\u00a0: Towner, Eastbourne\u202811 Oct 2014 \u2013 \u00a0Jan 2015<\/h6>\n

\u00a0<\/em><\/p>\n

<\/div>\n
\n
\n
\n

[1]<\/span><\/a> <\/sup><\/span>Laurent Mannoni, The Great Art of Light and Shadow: Archeology of the Cinema,<\/i> Exeter, University of Exeter Press, England, 2000<\/span><\/p>\n<\/div>\n

\n

[2]<\/span><\/a> <\/sup><\/span>Gaia Tadone in The Best is not too Good for You. New Approaches to Public Collections in England, Contemporary Art Society, Whitechapel Gallery, 2014-08-02<\/span><\/p>\n<\/div>\n

\n

[3]<\/span><\/a><\/sup><\/span> Gian Piero Brunetta, Il viaggio dell\u2019icononauta. Dalla camera oscura di Leonardo alla luce dei Lumi\u00e8re<\/i>, (The Journey of the Icononaut. From Da Vinci\u2019s Dark Room to the Light of the Lumi\u00e8re Brothers) Marsilio Editori, Venice 1997<\/span><\/p>\n

\n

Images<\/em><\/p>\n

(cover ) Susan Hiller, The Fight, 2007, photo-etching and aquatint on copperplate with Hahnem\u00fchle, etching paper, commissioned by Matt’s Gallery for E3 4RR Print Portfolio, image courtesy of the artist and Matt’s Gallery, London (1) \u00c9tienne-Jules Marey, Photographic magic lantern slide, 1877-1887, Muybridge Collection, Kingston Museum, London, image courtesy of Kingston Museum and Heritage Service, Royal Borough of Kingston upon Thames (2) James Williamson, The Big Swallow, 1901, Film still. Image courtesy of BFI Stills, press Images 2014 (3) William Friese-Greene, Self-Portrait, c. 1890. Silver gelatin print – \u00a9 Daily Herald Archive\/National Media Museum\/Science & Society Picture Library<\/em><\/p>\n

\u00a0<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Examples of machinery, documents, and films in black and white belonging to the pre-cinematic era, together with contemporary artworks retrace the archeology of cinema.<\/p>\n","protected":false},"author":16,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"jnews-multi-image_gallery":[],"jnews_single_post":[],"jnews_primary_category":[],"jnews_social_meta":[],"jnews_override_counter":[],"footnotes":""},"categories":[5376],"tags":[],"yoast_head":"\nArcheology of cinema at the Whitechapel Gallery - Arshake<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.arshake.com\/en\/archeology-of-cinema-at-the-whitechapel-gallery\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Archeology of cinema at the Whitechapel Gallery - 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