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Update: Book Launch: Mathilde Roman, On Stage: The Theatrical Dimension of Video Image.


Book Launch: Mathilde Roman, On Stage: The Theatrical Dimension of Video Image

Thursday 3rd November 2016

6:30 PM – 8:30 PM

Central Saint Martins, University of the Arts London

Lecture Theatre E003




An AICAUK event in collaboration with Central St Martins
Register here
Author Mathilde Roman will speak about her book On Stage, panel discussion with Paul O’Kane followed by Q & A and drinks

MATHILDE ROMAN: On Stage: The Theatrical Dimension of Video Image

Distributed for Intellect Ltd

Translated by Charles Penwarden and With a Foreword by Mieke Bal

120 pages | 38 halftones | 7 x 9 | © 2016

In On Stage, Mathilde Roman explores the resonances that fields of theater—stage, décor, space, gaze, and more—have in the practice of video arts. Using these notions of theater both as points of reference and as a prism through which video installation can be approached, Roman is able to concentrate on a number of questions often overlooked by art historians, theorists, and critics, but offering different points of view. These include questions of exhibition architecture, display, viewer experience, temporality, and the importance of the gaze. Each chapter is articulated around analyses of video installations created by artists of different generations, from Michael Snow to Maïder Fortuné, and Dan Graham to Laurent Grasso. With a preface by Mieke Bal, On Stage is an important contribution to the fields of art, history, and film studies.


Times Literary Supplement

“Roman’s concise volume brings together the interdisciplinary theoretical perspectives that artistic practice in video, installation, and performance demand. As the cultural theorist and video artist Mieke Bal highlights in her preface to the book, scholarship on video installation in contemporary art is scarce despite its prevalence on the art scene, and this is precisely what Roman seeks to address. On Stage joins a burgeoning area of study on space and curatorial practice, particularly on exhibiting performance art and its attendant media. Unique to this book, however, is its breadth of theoretical and critical approaches to video image, spanning film, theatre studies, visual art, and art history, and the precision with which Roman utilizes these critical frameworks. It is the clarity with which she connects artistic practice with concepts of theatricality in ‘staging’ video that is its real strength.”