Project

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Made in Fiction: Scenarios Seep Outside their Frame

Applicant Vogt Naomi
Number 174775
Funding scheme Early Postdoc.Mobility
Research institution The Graduate Center The City University of New York
Institution of higher education Institution abroad - IACH
Main discipline Visual arts and Art history
Start/End 01.01.2018 - 30.06.2019
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Keywords (10)

Video art; Fiction; Installation; Film and History; Contemporary art; History and Theory of Art; Post-truth; Film ; Documentary; Representation and Narrative

Lay Summary (French)

Lead
'Scripting Reality'
Lay summary

Cette période de bourse FNS à UCL (Londres) et CUNY (New York) sera dédiée au commencement d’un nouveau projet de recherche, ainsi qu’à des publications émanant de ma thèse de doctorat complétée à l’université d’Oxford ‘Inventing Ritual: Moving Images of Social Reality in Contemporary Art’, sur l’invention de rituels dans l’art contemporain. Le nouveau projet part du principe que l’image en mouvement façonne le réel autant qu’elle le représente – pas seulement en termes d’information et de vision du monde, mais plutôt en ce qui concerne les scénarios et tropes filmiques qui s’infiltrent dans la vie réelle. Par exemple, des comportements dans les champs de la médecine et du droit, qui sont si fréquemment représentés dans les fictions cinématographiques, se voient de plus en plus façonnés par ces fictions (avocats encouragés à émuler les effets du flashback pour réussir leurs plaidoyers, médecins amenés à modifier leur habitudes de communication suite au déferlement de sitcoms médicales). Cette étude s’attachera à examiner les idéaux de vérité imbriqués dans l’histoire de l’image en mouvement, ainsi que leur devenir en cette ère prétendue de ‘post-truth’ (post-vérité). Mes objets d’étude sont des pratiques en art contemporain qui mettent en jeu de nouveaux rapports entre la fiction, le documentaire (et autres formes de non-fiction) et les conventions de genre quasi-épistémologiques qui y sont désormais associées. Les principaux artistes concernés par le projet sont Omer Fast, Goldin+Senneby, Joshua Oppenheimer, Pierre Huyghe, Keren Cytter, et The Otolith Group. Au lieu de mettre l’accent sur la performativité et la duperie, ces pratiques mettent en lumière la capacité productrice de la représentation, notament filmique. Les questions esthétiques et politiques soulevées par ce phénomène sont pressantes dans le contexte historique présent, où la notion de vérité n’a pas tant été radicalement rompue – comme cela est parfois prétend – que remise aux mains de nouveaux codes. Ces derniers sont souvent liés de près aux structures de l’image en mouvement et à l’idée de scénario.

Direct link to Lay Summary Last update: 18.04.2018

Responsible applicant and co-applicants

Publications

Publication
OAR Issue 3: That's All There Is (as editor of the thematic journal issue)
Vogt Naomi (2018), OAR Issue 3: That's All There Is (as editor of the thematic journal issue), OAR, London.
‘I Didn’t Know What I Was Doing: On Processions, Bodies, and Tupaia’s Funeral Outside Greenwich’s Royal Museums’ (tentative title)
Vogt Naomi, ‘I Didn’t Know What I Was Doing: On Processions, Bodies, and Tupaia’s Funeral Outside Greenwich’s Royal Museums’ (tentative title), in von Zinnenburg Khadija (ed.), Bloomsbury, London.

Scientific events

Active participation

Title Type of contribution Title of article or contribution Date Place Persons involved
Rewald Seminar Individual talk 'Making Ritual, from Filming to Witnessing’ 02.04.2019 CUNY Graduate Center, New York, United States of America Vogt Naomi;
CAA College Art Association Annual Conference Talk given at a conference Viewer as Witness: On Sealing the Intimate 13.02.2019 Hilton Hotel, New York, United States of America Vogt Naomi;
Research Platform and Doctoral Practice in Arts Individual talk L’Histoire au milieu de la pratique: Contextes de recherche en art contemporain 11.01.2019 Musée Ariana, Geneva, Switzerland Vogt Naomi;
VKKS Association of Swiss Art Historians Annual Conference Talk given at a conference Performed into Being: The Realism of Filmed Rituals 31.08.2018 Kunstmuseum, Bern, Switzerland Vogt Naomi;
AAH Association for Art History Annual Conference Talk given at a conference "Where’s my electricness?”: Exuberance as Form in the Work of Ryan Trecartin and Lizzie Fitch 05.04.2018 Courtauld Institute and King's College, London, Great Britain and Northern Ireland Vogt Naomi;


Self-organised

Title Date Place
Scripting Reality: A Symposium on the Production of Truth in Moving Images 20.03.2018 UCL, IAS, London, Great Britain and Northern Ireland

Communication with the public

Communication Title Media Place Year
Media relations: print media, online media 'To Expose, To Show, To Demonstrate, To Offer,’ by Elisabeth Lebovici (translation by N. Vogt) OAR (forthcoming) International 2019
Media relations: print media, online media 'New Validities' JAR: Journal for Artistic Research: Reflections International 2018

Abstract

This research project will center on the notion that moving images shape reality as much as they render it - not only in terms of information and worldview, but rather with regard to tropes and scenarios that structurally seep into ‘real life’. For instance, behaviors in the fields of law and medicine, which are so widely represented in moving image fictions, are reportedly increasingly shaped by the aesthetics of these fictions - e.g. trial attorneys encouraged to emulate cinematographic flashback for more successful statements. This subject partly builds on my doctoral research, as it examined representations in art and popular culture that effectively transform ritual practices. Here I will study how the constructs of vérité built into the history of moving image develop in the so-called post-truth age, by looking to art practices that engage novel interfaces between fiction, non-fiction, and the quasi epistemological genre conventions associated to these categories. These practices include work by The Otolith Group, Omer Fast, Joshua Oppenheimer, Goldin+Senneby, Pierre Huyghe, and Keren Cytter. They relate to what art historian Carrie Lambert-Beatty has called ‘parafiction’- namely a post-simulacral dimension in which real and imaginary figures and narratives intersect with the world as lived. The practices I will examine, however, hinge less on performativity and deceit than on the very productivity of representation. Film historian Miriam Hansen’s notion of vernacular modernism and the field of film and history studies (initiated by Marc Ferro) at large will help frame this research, veering it towards its current political ramifications. The aesthetic and political issues raised by this phenomenon are pressing in the contemporary socio-historical context, in which the notion of truth is not so much there for the taking as it is increasingly mediated and circulated through the vocabularies of genre and scenario - to an extend which we are yet to fully discern. This paradigm shift has not yet attracted full scholarly attention across art theory, visual culture and history. The present project seeks to address this lack by calling into consideration radical or boundary-blurring art practices and the knowledge which they can yield. This postdoctoral period will also be dedicated to publications based on my doctoral thesis: 'Inventing Ritual: Moving Images of Social Reality in Contemporary Art'.
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