PDF des gesamten Heftes (5MB) - Institut für Theorie ith

Note: The conversation was held in September
2006 via email. It has been edited for publication.
Images: Stills from Mieke Bal, Nothing is Missing,
a multiple-screen video installation, 2006 (an
ongoing project).
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1 ArtClips, series of nine 6½-minute video clips
on audience interactions with individual art works.
Los Angeles, The Getty Research Institute 2002_
Items in this series:
— Rembrandt: Marking Time / The Landscape
of the Face
— David Reed: Looking with the Body
— Liz Larner: Moving Still
— Bernardino Mei: Make Your Own Story
— Francesco Maffei: Performing Gender
— Louise Bourgeois: Scuttling Around (screened
in Warsaw, 11 January – 22 February 2003, and in
Valladolid, Spain, 15 July 2004 – 29 August 2004)
— John Baldessari: Puzzling
— Ingrid Calame: Wandering, Wondering
— Marlene Dumas: Black-Out, Blind Eye (screened
at the Centre Georges Pompidou, Paris, «L’art
contemporain et son exposition», 5 October 2002;
Dept. of Culture and Communication, New York
University, 16 January 2003; also at Whitechapel Art
Gallery, London, U.K., 23 September 2003)
All Over Again
Reconsidering the Medium
A conversation with Silvia Lorenz about
crossing academic boundaries by applying
interdisciplinary approaches to
link theory with artistic practice
Silvia Lorenz In 2002 you produced a
series of short ArtClips[1] about audience
interaction in front of individual art
works in collaboration with the Getty
Research Institute. What was your
motivation as a scholar to ‹change sides›
and start making films?
Mieke Bal To start making films as a scholar
was not at all a ‹changing of sides›
but rather another attempt to learn
more about what falls between the
cracks of disciplinary boundaries —
something I have been engaged in all
my working life. As happened before
when I crossed academic boundaries,
film making also has allowed me to
learn and transform my thinking.
SL Do you understand the films as a
‹realisation› of your writings (i.e. a
transformation of ideas and words into
images)? Are they also ‹theory›? Is
filming a way of reflecting on your academic
work? Has filming changed the
way you think about theory?
MB The films are not a reflection on my
writings in the sense that they are not
about saying the same thing in a different
medium. Even though I always
start from an idea — obviously, without
such a starting point nothing can happen
— the filming process immediately
takes over, so to speak, and begins to
make sense in a different way, and a