I’ve been saying for years that old projectors and other modernist paraphernalia in art galleries are tropes, affectations, bourgeois set dressing rather than meaningful vehicles for a 21st century artist to express themselves. Here is artist Hito Steyerl’s splendid volley against the practice. She nailed it.
Next time I see another 16mm film projector rattling away in a gallery I will personally kidnap it and take the poor thing to a pensioners home. There is usually no intrinsic reason whatsoever for the use of 16mm film nowadays except for making moving images look pretentious, expensive and vaguely modernist, all prepackaged with a whiff of WASPish art history. It made sense to use Bolexes in 1968, and indeed people used them to brilliant end. But today people use cellphones, Kinnect sensors and After Effects to deal with the present and shape it. And if artists do not expose themselves to the workflow and economies that come with contemporary means of production, they become souvenir peddlers. Or worse trying to conveniently package a bygone radical moment as a collectors item.
On this blog, see also TACITA DEAN (congratulations, you’ve made a screensaver twenty meters high) and ARSENALE VI: FILM PROJECTOR MORATORIUM, PLEASE