{"id":24087,"date":"2022-01-15T13:01:45","date_gmt":"2022-01-15T20:01:45","guid":{"rendered":"http:\/\/santafefilmfestival.com\/index\/?post_type=film&p=24087"},"modified":"2022-01-15T13:01:46","modified_gmt":"2022-01-15T20:01:46","slug":"the-anti-museum-an-anti-documentary","status":"publish","type":"film","link":"https:\/\/santafefilmfestival.com\/index\/film\/the-anti-museum-an-anti-documentary\/","title":{"rendered":"The Anti-Museum: an Anti-Documentary"},"content":{"rendered":"\n

A global pandemic shuts down business, offices, shops, theatres, museums and galleries, putting millions out of work and creating a new normal of social distance and virtual spaces.<\/p>\n\n\n\n

Narrated by musician Henry Rollins, The Anti-Museum: an Anti-Documentary questions if the forced closure of museums and exhibitions means we can discover new ways to experience art.<\/p>\n\n\n\n

For decades artists have grappled with the concept of closure \u2013 as statements against political power, as an act against commerciality, on the power of labour, as a means of questioning what work means and even how we define the space where art takes place.<\/p>\n\n\n\n

These radical acts saw galleries shut on their day of opening in Japan while in Argentina, the imprisonment of visitors to an exhibition became a statement on the military coup d\u2019etat. In Italy a gallery covered in striped paper challenged ideas of where art should hang while other artists mailed out their own exhibition closure in LA, Amsterdam and Turin.<\/p>\n\n\n\n

This rejection of where and how art is expressed is part of an anti-art movement that began in the 1960s. The heart of ‘anti-art’ was about pushing back against the objectification in established art, critiquing the commerciality of pop art and abstract expressionism, and denouncing the preservation of objects as a means of extracting value. In short, anti-art rejected the capitalist take-over of art as practice by making itself unpreservable, unmarketable, unattractive and unobjectifiable.<\/p>\n\n\n\n

Refusing to play the game exposes the limits of culture and becomes a revolutionary act in itself. But it also cracks open the possibility of redefining what art is, what the limits of art are and actively embraces a different concept – an anti-museum that encourages active oppositions to currently accepted norms.<\/p>\n\n\n\n

Director Biography – Celine Fitzmaurice<\/a><\/h4>\n\n\n\n
\"\"<\/a><\/figure>\n\n\n\n

Celine Fitzmaurice is a producer of documentaries and factual television for UK and US broadcasters. After completing a PhD in politics, Celine entered tv with an interest in films with a political message or offering a new understanding of political events. Her first documentary about Enoch Powell\u2019s infamous Rivers of Blood speech \u2013 about the dangers of non-white immigration to Britain \u2013 questioning if the policy of multiculturalism had failed in Britain. This was nominated for a Grierson Award.<\/p>\n\n\n\n

Celine subsequently produced feature documentary, The Flaw which unpacked the causes of the Global Financial Crisis of 2008. This was selected for Sundance.<\/p>\n\n\n\n

After many years of being lucky enough to work on blue-chip series for the BBC, Channel 4, Nat Geo, and Smithsonian among others, Celine is now keen to explore making her own films.<\/p>\n\n\n\n

‘The Anti-Museum: an Anti-Documentary’ is her directorial debut.<\/p>\n","protected":false},"excerpt":{"rendered":"

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