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FUTURE CINEMA
The Cinematic Imaginary after Film

Curated by Jeffrey Shaw and Peter Weibel

16 November 2002 - 30 March 2003
ZKM Karlsruhe | atria 8 & 9, Media Theater


The conditions of cinematographic art have changed radically over the past years. On the verge of a material revolution new possibilities of camera and production techniques have emerged that also allow new modes of narration and image languages. FUTURE CINEMA is the first major international exhibition of current art practice in the domain of video, film, computer and web based installations that embody and anticipate new cinematic techniques and modes of expression.

The exhibition offers the context for bringing together for the first time a large number of highly significant cinematic installation, multimedia and net based works that have been produced by both young and established international artists working in this field. At the same time the exhibition will premier numerous new works, some specially commissioned for this exhibition, and a few actually produced at the ZKM | Institute for Visual Media. A strong curatorial emphasis will be on installations that diverge from the conventional on the wall mounted and projected screen format and which explore more immersive and technologically innovative environments such as multi-screen, panoramic, dome projection, shared multi-user, and on-line configurations. Another central focus will be on works that explore creative approaches to the design of interactive non-linear narrative content.

Besides the installation works, the ZKM will use its Media Theater to present a number of performances and changing installations. While the exhibition itself will focus on current artistic practice in the field of digitally expanded cinema, a major catalogue will be published that documents the historical trajectory of those many and variegated cinematic experiments that prefigure, inform and contextualize our current cinematic condition.

The history of cinema is a history of technological experiment, of spectator-spectacle relations, and of production, distribution and presentation mechanisms that yoke the cinema o economic, political and ideological conditions. Above all it is a history of creative exploration of the uniquely variegated expressive capabilities of this remarkable medium.
Despite cinema's heritage of technological and creative diversity, it is Hollywood that has come to define its dominant forms of production and distribution, its technological apparatus and its narrative forms. But the current hegemony of the Hollywood model of movie making is about to be questioned by the more radically new potentialities of the digital media technologies, which is why the rise of the video, computer game and location based entertainment industries is such a significant phenomena. These new digital contexts a