Tag Archives: MIRAJ

Call for Papers | MIRAJ | Transnationalism and South Asian Artists’ Moving Image

Moving Image Review & Art Journal | Issue 7:2

Transnationalism and South Asian Artists’ Moving Image

Call for Papers | Deadline: 1 March 2017

This issue will be guest edited by Rashmi Sawhney and Lucia King.

The uncontestably global ecologies of contemporary moving image art have invited some deliberation on questions of regional aesthetics, identity, circulation and transnationalism. Yet such discussions have mainly taken place in the context of exhibiting ‘non-western’ art in the western world. Contradictions still persist in the project of destabilizing assumed hierarchies within the Euro-American art world (in the most recent Documenta XI and Venice Biennale, for example) whilst artists of the global South gain currency primarily by meeting the expectations of ‘western’ art markets. Furthermore, Euro-American art historical discourse remains negligent of film and video art’s legacies from the South, including experimental film and screen-based arts. As a consequence, moving image art by ‘non-western’ artists is either caged into essentialist frameworks founded on mythical notions of ‘authenticity’, or stirred into the melting pot of contemporary art without due attention to their particular cultural and aesthetic contexts. This MIRAJ issue, therefore, engages with the particularities of film and video art practices from South Asia, and leverages these in theorising the relationship between regional, global and transnational moving image cultures.

To address some of these gaps in scholarship, this special edition of MIRAJ focuses on the circuits of production, exhibition and authoring of South Asian artists moving image in order to chart key theoretical terrains of ‘regional’ practices in a global context. We solicit articles from artists, critics and curators who work within and outside South Asia, that highlight conceptual frameworks and offer insights on the multi-layered relationships between ‘home and the world’, region and identity, aesthetics and translatability, cultural specificities and contexts of classification/consumption/circulation. We invite articles that build upon foundational work in South Asian moving image art and film histories as well as transnational art practices and aesthetics.

We are particularly interested in articles that address the following:

• Theories of film and video art outside of the ‘national’ framework that are attentive to influences, collaborations and exchanges across geographic and political regions.
• Examples of significant regional exchanges and collaborations between artists and filmmakers from India, Pakistan, Bangladesh and Sri Lanka.
• The relationship between region, identity and moving image practice in South Asia.
• The aesthetic pre-cursors (in a pre-cinematic sense) that influence contemporary moving image art in the region, including investigations of artist(s)’ methodologies.
• Experiments in film and video art that emphasise ‘indigenous forms’.
• Transnational curatorial practices that work with and around the regional/national framework.
• Historicising South Asian moving image art in the post-medium context.
• Spectatorship and post medium/ multi-media art in/from South Asia.
• South Asian artists’ moving image engagement with science, political activism, environmentalism, urbanism etc.
• South Asian artists’ moving image hybridity with alternate media genres, such as experimental film, documentary, and digital media.
• Digital media and the exhibition and distribution of ‘regional’ moving image art.
• Digital archives and curatorial practices in/about South Asian film & video art.

We publish the following types of writing: scholarly articles (5000-7000 words); opinion pieces, feature articles and interviews (3000-5000 words); review essays of books, individual works, exhibitions and events (3000-5000 words). Scholarly articles will be blind peer-reviewed and feature articles and review essays can be peer-reviewed on request. Articles submitted to MIRAJ should be original and not under consideration by any other publication, including online publications. We do not publish articles by artists about their own work, nor reviews by curators or venues about their own exhibitions.

Please submit completed manuscripts only.
Send all contributions by e-mail in Word format to the Editorial Assistant: [email protected].

Deadline for completed articles: 1 March 2017
Image: Prisms of perception, (2010) Artist: Gigi Scaria. Medium: Video installation. (Image courtesy of the artist).

Call for Papers – 50 Years of British Artists’ Moving Image | MIRAJ Issue 6.1/6.2

Moving Image Review & Art Journal

Issue 6.1/6.2

50 Years of British Artists’ Moving Image

Call for Papers | Deadline: 15 August 2016

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On the occasion of the fiftieth anniversary of the London Filmmakers’ Cooperative (LFMC) and the fortieth anniversary of London Video Arts (now LUX), articles are invited that reflect upon the histories, contexts and legacies of artists’ film and video practices in Britain since 1966. Both organisations played a significant role in the development of the distinctive and diverse artists’ moving image culture experienced in the UK today. This double issue of MIRAJ marks these anniversaries in order to draw forth new scholarship and research in a vital field of study and practice. This issue will be guest edited by Benjamin Cook and Lucy Reynolds.

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Download Call: MIRAJ 6.1_

We invite articles that examine:

  • •      Ecologies of practice, distribution and production (including workshops, funding, the academy, distributors, collectives, co-operatives, galleries, festivals, the art market, television and the internet).
  • •      Spectatorship (spaces and patterns of reception from museums to micro-cinemas, from festival to home viewing and online).
  • •      International links, networks and perspectives (in particular encouraging dialogues concerning a non-Western axis).
  • •      Scholarship then and now (magazines, film journals, educational contexts).

We encourage articles that debate:

  • •      What was and what continues to be at stake in contemporary British artists’ moving image culture.
  • •      Interplay and tensions between moving image culture and contexts such as artists’ film production and film industry, experimental film and the art world.
  • •      The dialogues between earlier movements and contemporary practices.
  • •      Technological shifts and the significance of medium specificity in the digital age.

We welcome articles that explore:

  • •      Original theoretical and interdisciplinary methodologies for the historiography, analysis and discourses of post-war artists’ moving image practices in Britain.
  • •      Posit new research and perspectives on figures and contexts overlooked or under-represented.
  • •      Dissect and examine existing canonical representations of key figures and contexts.

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Please submit completed manuscripts only. Send all contributions and proposals by e-mail in Word format to the Editorial Assistant: [email protected]

The Moving Image Review & Art Journal (MIRAJ) is the first peer-reviewed publication devoted to artists’ film and video, and its contexts. It is published twice a year in print by Intellect Books in collaboration with the University of the Arts London. MIRAJ offers a widely distributed international forum for debates surrounding all forms of artists’ moving image and media artworks.

For more information please visit: http://www.intellectbooks.co.uk/journals/view-Journal,id=207/view,page=0/

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Launch of MIRAJ 2:2 and MIRAJ 3:1

The Moving Image Review & Art Journal (MIRAJ) is the first peer-reviewed publication devoted to artists’ film and video, and its contexts. It is published twice a year in print by Intellect Books in collaboration with CCW Graduate School at the University of the Arts London. MIRAJ offers a widely distributed international forum for debates surrounding all forms of artists’ moving image and media artworks. The journal is edited by CCW Professor, Catherine Elwes.

Launching MIRAJ 2:2 and 3:1 on 19 November at 5:30pm at Chelsea College of Arts,  Andrea Luka Zimmerman will screen extracts from her recent films, including the forthcoming feature essay film Estate, a Reverie which premieres at Hackney’s Rio Cinema on 22 November 2014. Filmed over seven years, Estate seeks to reveal and celebrate the resilience of residents who are profoundly overlooked by media representations and wider social responses. Interweaving intimate portraits with the residents’ own historical re-enactments and dramatised scenes, Estate, a Reverie asks how we might resist being framed exclusively through class, gender, ability or disability and through geography. The screening will be followed by an in conversation between Zimmerman and Lucy Reynolds and then a drinks reception. Booking is essential. Please reserve a place here.

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Elwes discussed the two new issues in the press release for the event. ‘We have published contributions from art historians and critics, film and media scholars, curators, and, not least, practitioners. These include pieces that offer theories of the present moment but also writings that propose historical re-readings of the standard accounts of artists’ moving image. The articles that appear in MIRAJ 2:2 and 3:1 cover a wide range of topics from medium specificity in the age of intermediality (Janine Marchessault) and the shadow (Sean Cubitt), through the meta-physics of data in the work of Semiconductor (Lilly Husbands) to in-depth discussions between practitioners such as Laura Mulvey, Chris Welsby, Elizabeth Price, John Akomfrah and Mark Lewis.

Each issue contains a themed section. In the case of 2:2, Joshua Yumibe tackled the question of illusion and abstraction in silent and experimental cinema while Jonathan Walley mined the deeper resonances of illusionism as it has been both deconstructed and exploited in experimental film and video. MIRAJ 3:1, guest edited by Erika Balsom, introduced the theme of institutions, debated by a range of curators, distributors and practitioners. Volker Patenburg examined the experience of cinema and the museum, while Enrico Camporesi considered the “archive instinct” in the work of Bill Brand.

The scholarly articles and feature articles are complemented by a reviews section edited by Colin Perry, which responds to debates circulating in publications, conferences, symposia and artists’ film and media festivals and also reviews of current exhibitions both in this country and abroad. An issue on Feminisms is in preparation as we celebrate the publication of our last two issues. We hope you will come and celebrate with us on 19th November at Chelsea.’

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Top image credit: Andrea Luka Zimmerman, Estate, a Reverie, 2014. Courtesy of the Artist.