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).
The article deals with Gaspar Noé’s Enter the Void (2009). The author analyses different ways of presenting reality that Noé employs in his work in relation to various concepts of extending realism. Michnik compares Enter the Void with 19thcentury French paintings and various trends in cinematography and visual arts of the 1960s: structural film, Stanley Kubrick’s 2001: A space odyssey, op-art, Andy Warhol’s multimedia experiments, and objects by Dan Flavin and Bruce Nauman. Basing his argument on the work and thoughts of Michael Fried and Robert Smithson, Michnik considers various models of vision employed by the director and the relation of his film to the concept of time. He also analyses Noé’s use of the Tibetan Book of the Dead. He uses the concepts of Hal Foster’s “traumatic realism”, Fredric Jameson’s „magic realism” and Luis Felipe Noé’s, Gaspar Noé’s eminent father, “subjective realism”.
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