223 Moses Hall
Megan Hoetger, UC Berkeley Performance Studies
At a time when non-, anti-, and counter-cinema practices faced heavy state censorship with little in the way of art institutional or film industrial support, filmmakers and artists forged new ways of circulating their work at local levels, as well as across national borders. Looking to the Viennese context as a case study, this talk examines the entangled development of two forms of artist meetings, which developed in the postwar moment in response to this situation: the institutional and the alternative. In institutional meetings that began to emerge in the mid-1960s, filmmakers and artists nominally adopted and adapted the languages and infrastructures of institutions, taking on either (and, in some cases, both) commercial market or education models in order to gain visibility in cultural space.