摘要：It is safe to say that much of the contemporary artistic practice with moving images is concerned with materiality and technique. This interest can be seen in the practices and methods involving building and dismantling machines and devices, working with the chemistry of film emulsions, and engaging with the processes of the moving image. The work digs deep into what constitutes film as a material process and also, importantly, what infrastructure enables this practice. In other words, film becomes emphasised as a hands-on practice that explores both a relation to the technological apparatus and to film and media history. In fact, such practice is inspired by a variety of different experiments, among which, for example, the camera obscura as an elaboration on the concepts of image-making, materiality, and absence in Sandra Gibson and Luis Recoder’s Obscurus Projectum (2011), or the countercultural forms of film history like écriture feminine , and practices of film editing such as quiltmaking in Kelly Egan’s c: won eyed jail (2005) and Athyrium filix-femina (2016). A multitude of others could be mentioned.
