09:30 am - 18:30 pm
Tickets and Passes:
Sales end Jul 25, 2022
Passes for the two sessions of PARTE Summit are available for sale in limited number, however single tickets for the Loulé and Coimbra sessions may be purchased at the physical or online ticket offices of the respective venues in Loulé and Coimbra.
Discounts apply to students, residents of the municipalities of Coimbra and Loulé, associates, members of PARTE partner organizations (AICA, AAVP, Exhibitio, RPAC and others to be designated), people with special needs and senior card holders (available only by picking up the ticket at the physical ticket office).
/ 11:30 — 12:30 / Talk + Screening
On the model of the expanded cinema of the 1960s and 70s, can we imagine an "expanded theory of cinema" susceptible to enlarge our perception and understanding of artists' films production of today?
— Philippe-Alain Michaud & Emily Wardill
The notion of art history is increasingly broader and more multi-discursive, encompassing various forms of expression and not limited to a single canonical model. Starting from the model of the expanded cinema of the 1960s and 70s, independent, anti-institutional and with strong roots in the counterculture, made with few means (financial and material), how can we rethink or imagine an "expanded art history", made also at the margins of institutions? How can we expand or broaden our perception and understanding of today's art production?
Philippe-Alain Michaud is Curator at the Musée National d’Art Moderne – Centre Pompidou in charge of the collection of films. He is the author of Aby Warburg and the Image in Motion (Zone Books, 2002 and Macula 2012), Le peuple des images (Desclée de Brouwer, 2004), Sur le film (Macula, 2016), Âmes primitives. Figures de film, de peluche et de papier (Macula, 2019) and has written extensively on the relations between film and visual arts. He has curated a number of exhibitions among which include: Comme le rêve le dessin (Musée du Louvre / Centre Pompidou, 2004), Le mouvement des images (Centre Pompidou, 2006), Nuits électriques (Musée de la photographie, Moscou and Laboral, Gijón, Spain, 2007), Tapis volants (Villa Médici, Rome and Les Abattoirs, Toulouse, 2010), Images sans fin, Brancusi photographie, film (Centre Pompidou, 2012), Beat Generation (Centre Pompidou, 2016), L’œil extatique – Serguei Eisenstein à la croisée des arts (Centre Pompidou-Metz, 2019).
Emily Wardill (1977) lives and works in Lisbon. Wardill’s work has been exhibited in solo shows including Rialto 6 (2022), Secession (2020) Kohta (2019) Bergen Kunsthall (2017), Gulbenkian Project Spaces (2017), INDEX, Stockholm (2014), The National Gallery of Denmark, Copenhagen (2012); de Appel arts centre, Amsterdam (2012); The Contemporary Art Museum St Louis (2011) List Centre MIT Boston and ICA, London (2007–08). Her work was included in group shows at Te Tuhi, New Zealand (2019), XYZ Collective, Toyko (2019) The Biennale of Moving Images, Geneva (2016), Salzburger Kunstverein (2015), the Serpentine Gallery London (2012), the Showroom Gallery London (2010), the Gallery of Modern Art Glasgow (2011), the MIT List Visual Arts Center in Cambridge/MA (2010), the ICA, London (2008), the Hayward Gallery, London; Witte de With, Rotterdam; MUMOK Vienna; and MOCA, Miami. Her work was awarded the Jarman Award in 2010 and the Leverhulme Award in 2011. She participated in the 54th Venice Biennale (2011) and the 19th Sydney Biennale (2014). Some of the international collections holding Wardill's work are Tate Britain, MUMOK Vienna, Gulbenkian Art Museum, Fonds Municipal d’Art Contemporain de la Ville de Genève and the Arts Council Collection as well as numerous private collections. She is represented by Carlier Gebauer (Berlin) and Altman Siegal (San Francisco). Wardill is currently undertaking a practice-led PHD at Malmo Art Academy, Sweden.