Neus Miró Gonzalez
The Evolution of Exhibition Grammar since the 1960s due to the Assimilation of Moving Image Practices into the Art Gallery and Art Museum.
Central Saint Martins
This thesis will explore the impact of film and video works by artists on the exhibition making practices in the context of art galleries and museums.
I will address those changes taking place in the exhibition context due to the new conditions brought in by moving image works in relation to the new time parameters, new space dispositifs and new light conditions when using projection.
The study of the above listed issues will focus on those practices taking place in two different periods of time; a first period during the 60s and 70s and identified as the formative period, and a second one during the 90s and 00s.
I am concerned with those new approaches that can be traced back in recent history - down to the 60s/70s - where the moving image works have contributed to shape new ways in dealing with time frames and space/architecture devices in the exhibition situation. The research will be informed by the studies about time organisation and time perception and how moving image artworks and exhibitions reflect societies changing behaviours towards time management. The thesis will also explore the shift in space devices and where to show film and video works, moving from the use of black boxes to complex structures and devices aimed at a better integration of those works within the exhibition space or to an enhanced awareness of space relationships and possibilities between the work and the visitor.
The study will look at particular artists across the time frame of the theses such as Annabel Nicholson, Phillipe Parreno and Steve McQueen, as well as to specific exhibitions.