Tony Morgan’s Performative Cinema in the Age of the “Cinematic Turn”: “Relational Films” (1969-1970), “Structural Films” (1969-1971) and Produkt Cinema (1971)
pdf (English)

Słowa kluczowe

Artists' films
contemporary art
relational film
structural film

Jak cytować

Bovier, F. . (2020). Tony Morgan’s Performative Cinema in the Age of the “Cinematic Turn”: “Relational Films” (1969-1970), “Structural Films” (1969-1971) and Produkt Cinema (1971). Artium Quaestiones, (31), 67–100.

Liczba wyświetleń: 310

Liczba pobrań: 190


This article analyses the films, installations, performances and film projects of British artist, Tony Morgan, who is associated with Fluxus. Focusing on the years 1969–1971, we show the process of dematerialization and rematerialization inherent in his films – a distinctive feature of a cinematographic turning point in conceptual and postconceptual art. We discuss his film gallery, Produkt Cinema, an exceptional venue for producing and exhibiting films created exclusively for this specific location. We finally argue that, through the introduction of performative elements, his installations, generically entitled Structural Films, disrupt the minimalist ethos of ‘structural film’ (a term coined by P. Adams Sitney).
pdf (English)


Transformer. Aspekte der Travestie, J.-C. Ammann, M. Eigenheer, eds., Lucerne 1974

Balsom E., Exhibiting Cinema in Contemporary Art, Amsterdam 2013

Baudry J.-L., “Ideological Effects of the Basic Cinematographic Apparatus”, Film Quarterly, Vol. 28 (Winter 1974-1975), pp. 39-47

Bishop C., Installation Art; A Critical History, London 2005

Bourriaud N., Esthétique relationnelle, Dijon 2001

Buchloh B. H. D., “Conceptual Art 1962-1969: From the Aesthetic of Administration to the Critique of Institutions”, October, Vol. 55 (Winter 1990), pp. 105-143

Buschmann R., Chronik einer Nicht-Austellung Between 1969-1973 in der Kunsthalle Düsseldorf, Berlin 2006

Butler J., Gender Trouble, New York 1990

Caianiello T., Der Lichtraum (Hommage à Fontana) und das Creamcheese im Museum Kunst Palast. Zur Musealisierung der Düsseldorfer Kunstszene der 1960er Jahre, Bielefeld 2005,

Deleuze G., Guattari F., Anti-Oedipus: Capitalism and Schizophrenia, Minneapolis 1983 [1972]

Deleuze G., Guattari F., A Thousand Plateaus: Capitalism and Schizophrenia, Minneapolis 1987 [1980]

Edinburgh International Festival, Strategy: Get Arts, Edinburgh 1970

Filliou R., Teaching and Learning as Performing Arts, Cologne 1970

Prospekt 71: Projektion, K. Fischer, J. Harten, H. Strelow (eds), Düsseldorf 1971

Fried M., “Art and Objecthood”, Artforum, Vol. 5 (1967), pp. 12-23

Gidal P., “Definition and Theory of the Current Avant Garde: Materialist/Structural Film, Studio International 1974, 187(963), pp. 53-6

Intermedia ’69, eds. J. Goetze, K. Staeck, Heidelberg 1969

Gunning T., “The Cinema of Attractions: Early Cinema, its Spectator, and the The Avant-Garde”, Wide Angle, Vol. 8 (1986), pp. 63-70

Heidegger M., Being and Time, Oxford/Cambridge 1962 [1927]

Higgins D., “Intermedia”, Something Else Press Newsletter 1966, 1(1), reprinted in Intermedia, Fluxus and the Something Else Press: Selected Writings of Dick Higgins, ed. S. Clay, K. Friedman, New York 2018, pp. 25-28

Kennedy J. N., The Last Art College: Nova Scotia College of Art and Design, 1968-1978, Halifax/Cambridge, MA. 2012

Ketner II J. D., Witness to Phenomenon: Group Zero and the Development of New Media in Postwar European Art, New York-London 2018

Joseph B. W., Beyond the Dream Syndicate: Tony Conrad and the Arts After Cage. New York 2008

Une histoire du cinéma, ed. P. Kubelka, Paris 1974

Le Grice M., “The History We Need”, in Film as Film: Formal Experiment in Film, 1910-1975, London 1979, pp. 113-117

Lippard L., Six Years: Dematerialization of the Art Object from 1966-1972, New York 1973

Maciunas G., “Some Comments on ‘Structural Film’ (by P. Adams Sitney)’, in Film Culture Reader, ed. P. A. Sitney, New York 1970, p. 349

Polish Cine Art or the Cinematographic Turn in Polish Contemporary Art, ed. J. Majmurek and Łukazs Ronduda, Warsaw 2015

Manovich L., Black Box – White Cube, Berlin 2005

Mey A., Dispositive and Event. Exhibitionary Experiments and Experimental Moving Images in Europe around 1970, PhD Thesis, Lausanne 2017

Artforum 1971, 10(1), ed. A. Michelson

New Forms in Film, ed. A. Michelson, Montreux 1974 (exh. cat.)

Morgan T., “The Media Explosive Years 1960-1980”, Mediamatic, 1986, 1(1)

Tony Morgan, 1960-1977. Who the Hell Is Herman, Anyway?/Mais qui diable est donc Herman?, Geneva 2003

Tony Morgan: Some Films (and Videos) 1969-1973, London 2011

O’Doherty B., “Inside the White Cube: Notes on the Gallery Space, Part 1”, Artforum, Vol. 14 (March 1976), pp. 24-30

O’Doherty B., “Inside the White Cube: Notes on the Gallery Space, Part 2: The Eye and the Spectator”, Artforum, Vol. 14 (April 1976), pp. 26-34

O’Doherty B., “Inside the White Cube, Part 3: Context as Content”, Artforum, Vol. 14 (November 1976), pp. 38-44

Installation Art, N. de Oliveira, N. Oxley ed., London 1994

Osborne P., Anywhere or Not at all: Philosophy of Contemporary Art, London-New York 2013

Peterson A. R., Installation Art: Between Image and Stage, Copenhagen 2015

Pleynet M. and Thibaudeau J., “Economic, Ideological, Formal”, in Sylvia Harvey (ed.), May 1968 and Film Culture, London 1978, pp. 155-156.

Rebentisch J., Aesthetics of Installation Art, Berlin 2012

Reiss J., From Margin to Center: The Spaces of Installation Art, Cambridge, MA. 2001

Royoux J.-C., “Pour un cinéma d’exposition”, Omnibus 1997, 20, pp. 11-12

Royoux J.-C., “Cinéma d’exposition: l’espacement de la durée”, Artpress 2000, 262, pp. 36-41

Sitney P. A., “Structural Film”, Film Culture 1969, 47, pp. 1-10

Suderburg E., Space, Site, Intervention: Situating Installation Art, Minneapolis 2000

Eternal Network. A Mail Art Anthology, C. Welch ed., Calgary 1995