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SUMMARY:Media and Memory at the Vidéothèque de Paris
DESCRIPTION:(Join our mailing list for an event reminder.) \nCatherine E. ClarkAssistant Professor\, MIT Global Studies and Languages\nThe Vidéothèque de Paris\, a moving image archive of the French capital\, opened in 1988\, during a period when French technological advances led the world in revolutionizing the circulation of people and information. Accordingly\, the Vidéothèque would be no mere dusty archive but rather a high-tech institution of robots\, computers\, VCRs\, and Minitels. Its organizers deployed the very latest technologies to place nearly a century of fiction films\, documentaries\, television programs\, and advertising with Paris as their subject or setting at visitors’ disposal. Organizers promised that within a year or two the whole archive would be available in Parisian living rooms\, as its collections became the basis of a Parisian on-demand cable channel. \nContemporaries imagined that these cutting-edge technologies would transform users’ very relationship to the past. They hoped to turn institutionalized history into memory\, a flexible\, customizable\, and ultimately personal\, experience of the past. The dream of an archive that replaced all others by providing constant access to cultural and social memory through cutting-edge technologies did not last more than a decade. But the utopian rhetoric that accompanied the Vidéothèque’s creation helps illuminate and call into question the utopian promises of the much more recent revolution in digital history. \nMIT Global Studies and Languages assistant professor Catherine E. Clark is a cultural historian who specializes in nineteenth- and twentieth-century France and visual culture. \nHer current book project\, Paris and the Cliché of History\, explores the intersection of the history of Paris and the history of photography. It tells the story of the various uses of photos as documents of the capital’s past from the establishment of Paris’s municipal historical institutions (the Musée Carnavalet and the Bibliothèque historique de la Ville de Paris) to the amateur photo contest “C’était Paris en 1970\,” which created an archive of 100\,000 pictures of the city. The project combines the history of collecting photographs with a consideration of the theoretical assumptions that underpinned their use\, alongside prints and paintings\, in illustrated books\, historical exhibitions\, and commemorations.
URL:https://cms.mit.edu/event/catherine-clark-media-memory-videotheque-de-paris/
LOCATION:MIT Building 4\, Room 231\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Colloquium
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2015/01/Catherine-Clark.jpg
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DTSTART;TZID=America/New_York:20150312T170000
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SUMMARY:Dangerous Moves: Performance and Politics in Cuba
DESCRIPTION:(Join our mailing list for an event reminder.) \nCoco Fusco\nCoco Fusco‘s Dangerous Moves: Performance and Politics in Cuba is a study of the role of corporeal expressivity in development of social criticism in Cuban art. Fusco explores the work of performance artists from the 1980s to the present and examines how the Cuban state has wielded influence over performance through a combination of politics and practices that enable cultural production on the one hand and discipline public behavior on the other. \nThe book will be published by Tate Publishing in the fall of 2015. \nCoco Fusco is an interdisciplinary artist and writer and a MLK Visiting Scholar at MIT. She is a recipient of a 2013 Guggenheim Fellowship\, a 2013 Absolut Art Writing Award\, a 2013 Fulbright Fellowship\, a 2012 US Artists Fellowship and a 2003 Herb Alpert Award in the Arts. Fusco’s performances and videos have been presented in numerous international biennials and festivals\, as well as the Tate Liverpool\, The Museum of Modern Art\, The Walker Art Center and the Museum of Contemporary Art in Barcelona. She is represented by Alexander Gray Associates in New York. Fusco is the author of English is Broken Here: Notes on Cultural Fusion in the Americas (1995) and The Bodies that Were Not Ours and Other Writings (2001)\, and A Field Guide for Female Interrogators (2008). She is also the editor of Corpus Delecti: Performance Art of the Americas (1999) and Only Skin Deep: Changing Visions of the American Self (2003).
URL:https://cms.mit.edu/event/coco-fusco-dangerous-moves-performance-and-politics-in-cuba/
LOCATION:MIT Building 4\, Room 231\, Cambridge\, MA\, 02139\, United States
CATEGORIES:Colloquium
ATTACH;FMTTYPE=image/jpeg:https://cms.mit.edu/wp/wp-content/uploads/2014/06/Coco-Fusco.jpg
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