From the Other Side at Documenta 11 (2002)
- Submitting institution
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The University of Huddersfield
- Unit of assessment
- 32 - Art and Design: History, Practice and Theory
- Output identifier
- 28
- Type
- D - Journal article
- DOI
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10.1386/miraj_00014_1
- Title of journal
- Moving Image Review and Art Journal
- Article number
- -
- First page
- 148
- Volume
- 8
- Issue
- 1-2
- ISSN
- 2045-6298
- Open access status
- Not compliant
- Month of publication
- September
- Year of publication
- 2019
- URL
-
-
- Supplementary information
-
-
- Request cross-referral to
- -
- Output has been delayed by COVID-19
- No
- COVID-19 affected output statement
- -
- Forensic science
- No
- Criminology
- No
- Interdisciplinary
- No
- Number of additional authors
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0
- Research group(s)
-
-
- Proposed double-weighted
- No
- Reserve for an output with double weighting
- No
- Additional information
- This paper is the first published academic analysis of Chantal Akerman’s gallery installation De l’autre Côté made for the influential exhibition Documenta 11 in Kassel, Germany in 2002 curated by Okwui Enwezor. It analyses and questions the meanings and efficacy of the narrative strategies employed by Akerman in her unique combination of recorded video installation and live video feed from the Mexican/US border to explore various aspects of illegal migration from Mexico to the US, both as documentary analysis in a series of interviews with individuals telling their stories on both sides of the border, and as a fictional account of a women, a mother, who disappeared after crossing the border from Mexico to the US. The research in the essay ‘From the Other Side at Documenta 11 (2002)’ published in the special issue of the Moving Image & Art Journal devoted to the work of Chantal Akerman is not able historically because it is the first published essay-length study of De l’autre Côté as it was first installed in the exhibition in Kassel in 2002.As well as engaging critically with the three elements of the artwork ‘From the Other Side at Documenta 11 (2002)’ it is unique in the Akerman literature for its analysis of the artist’s essay length statement in the exhibition catalogue, in which she describes the source of the idea for the work and her encounters with the lives of individuals on both sides of the Mexican/US border.
Chantal Akerman consistently cited the philosophy Emanuel Levinas as influential for her approach to filmmaking, however, this paper breaks new ground in arguing that Hannah Arendt’s conception of history as a togetherness of stories is uniquely productive as an approach to analysing this particular instance of Akerman’s work in the form of a gallery installation.
- Author contribution statement
- -
- Non-English
- No
- English abstract
- -