胶片

35mmcolorandblackandwhiteportraitformatanamorphicfilmwithhand-tintedsequences,silent,10min42sec.,continuousloop.Largefrontprojection;projectionbooth;free-standingscreen;loopsystem.　　FILM2011isaportraitoftheanalogue,photochemical,non-digitalmediumoffilm,madebytheartistTacitaDean.Itissilent,lasts10minutesand42seconds,andisplayedonacontinuousloop.DeanmadeFILMbyturningaCinemascopelensninetydegrees,upendingtheusuallandscapeformatsoitbecomesverticalandinscalewiththeproportionsofTateModern’sTurbineHall,forwhichtheworkwascommissionedin2011aspartoftheUnileverSeries.Ithasbeenproducedinaneditionoffour,ofwhichTate’scopyisnumberone.FILMdepictsTateModern,howevermanyofthescenesareoverlaidwithscratchesandpaintoroversaturatedwithcolour.Ithassprocketholesevocativeoftheanaloguemediumdowntheleft-andright-handsides.WhentheworkwasshownaspartoftheUnileverSeriesin2011–12,itwasprojectedonaspeciallymadescreenontheeasternwalloftheTurbineHall.　　ToproducethevariousvisualeffectsinFILMDeanusedbothin-cameraandstudiotechniques,suchasmasking,double-exposureandglassmattepainting.Dean’seditofthematerial,aswellasheradditionsandmanipulations,establishedarelationshipbetweentheartist’shandandthemechanicallyproducedfilm.Theeffectisplayfulandintimate,remindingusofthepro-filmicevent–therealsituationhappeninginfrontofthecamera–evenwhenprojectedonamonumentalscale.Thead-hocnatureoftheimagesalsopointstotheearlydaysofcinema,eventhoughthefilmusedwassomeofthelasttobeproducedattheKodakfactoryandsomightalsobeseenasalamentforanearlyextinctprocess.InthepressreleaseforthedisplayofFILMatTateModern,Deancommentedthattheworkaimed,‘toshowfilmasfilmcanbe–filminitspurestform’(‘TheUnileverSeries2011:TacitaDean’,pressrelease,Tate,10October2011,http://www.tate.org.uk/press/press-releases/unilever-series-2011-tacita-dean,accessed25June2018).CriticAdrianSearle,writingintheGuardiannewspaper,describeditas:‘Asilentmovie,Filmisarejoindertothedigitalnoiseofthemodernworld.Itrecallsearlycinemaandexperimentswithcolour,cinemaasartabstractionandashomemovie,structuralistfilmandundergroundcinema.Itiscoolandpassionate,lovelyandweirdlyold-fashioned.’(AdrianSearle,‘TacitaDean:Film–Review,Guardian,10October2011,https://www.theguardian.com/artanddesign/2011/oct/10/tacita-dean-film-review,accessed25June2018.)　　AsFILMwasprojectedonascreenintheTurbineHall,thearchitectureofTateModernbecameanintegralelementofthework.Thesteelbeamswhichcladthewallsalsostructuredthecompositionofthevariousmontageshots,whilethelongandnarrowseriesofwindowsonthefarwallrecalledthestripsoffilm,offeringthevieweracomplexinterweavingoffilmandsetting,realandartificialworld.Morebroadly,likethefateofSirGilesGilbertScott’sdisusedpowerstation–anobsoletestructurethatfoundanewleaseoflifeasamuseum–Dean’sfilmreflectedthefateimposeduponthemediumoffilmasitmigratesfromthecinematofinditslastrefugewithinthegallery’swalls.　　FILMhastherhythmandmetreofavisualpoem.Images,somefamiliarfromDean’spreviousworks,suchaslightning,treesandseascapes,arejuxtaposedwithpanelsofcolourandinteractwiththegridstructureofthewall.Theresultingpieceisamontageofblackandwhite,colourandhand-tintedimages,whichincludesallusionstosurrealistart,apaintingbyDutchmodernistPietMondrian,themountainsofRenéDaumal’snovelMountAnalogueandthemountainlogoofParamountStudios.Dean’scharacteristiccelebrationofwhatisnormallyconsideredwasteinfilmmaking,suchasthepicturefadingatthetailendofaroll,flashframesofover-exposureasthecamerastopsandstarts,andtheshimmeringmetamorphosisofacolourfilterchange,arealsoevidentinthiswork.Althoughsheworksacrossawiderangeofmedia,Deanhasusedfilmthroughouthercareer–itisherworkingmaterial,andshehasstatedthatsheneeds‘thestuffoffilmasapainterneedsthestuffofpaint’(quotedinCharlesDarwent,‘TacitaDean,TurbineHall,TateModern,London’,Independent,16October2011,https://www.independent.co.uk/arts-entertainment/art/reviews/tacita-dean-turbine-hall-tate-modern-london-2371148.html,accessed25June2018).