A platform of theoretical connections between artistic practices, processes and curatorial apparatus

Abstract

The essay intends to re-evaluate the relations between cinema and the old media of drawing by dismantling the curatorial apparatus within the fabrication of a particular art work and its conceptual organisation; focusing on Alexandra do Carmo's drawing series (projects between 2008 and 2018) — and more specifically Studio Socialis 2014. These works enact a transient relationship between the mediums of drawing and video. Firstly we are analysing her work within the world of cinema as Idea; we argue that drawing is being used to conceptualise the editing tools of silent film, as if the silence of film without sound, seen through the fictional drawing tools, the pencil as the apparatus, could show us a cinema that lives from its mechanical support yet revealing itself distant from it—as articulated by Pavle Levi (2010) in a dialectical relationship between the concept and the apparatus. Secondly, it proposes a reflection on what is to build temporalities and the performatic aspect of the work—of the bodies of the ones looking, as well the memory process of translating one dispositif into another. All in a place of multiple pre given occupying conditions, the art institution.