{"id":4273,"date":"2021-05-31T18:00:12","date_gmt":"2021-05-31T16:00:12","guid":{"rendered":"https:\/\/instytutpolski.pl\/newyork\/?p=4273"},"modified":"2022-09-23T08:01:53","modified_gmt":"2022-09-23T06:01:53","slug":"kieslowski","status":"publish","type":"post","link":"https:\/\/instytutpolski.pl\/newyork\/2021\/05\/31\/kieslowski\/","title":{"rendered":"Illuminating the archives \u2013 film archives alive and their audiences"},"content":{"rendered":"\n

June 28-29, 2021
ONLINE\/SOKO\u0141OWSKO, Poland\u00a0
More info and RSVP<\/a><\/strong><\/p>\n

International conference in commemoration of Krzysztof Kieslowski\u2019s 80th anniversary of his birth<\/strong><\/em><\/p>\n

The conference organized by the Foundation for Contemporary Art In Situ, which looks after and develops\u00a0the collection of The Krzysztof Kie\u015blowski Archives, will provide a platform for exchange of experiences for archivists, curators, researchers and other professionals who work with collections of film-related document collections, including scripts, filmmakers\u2019 biographical materials, production documentation, stills and other film-related objects. The conference is supported by the National Center for Film Culture in \u0141\u00f3d\u017a, the institution managing the \u0141\u00f3d\u017a City of Film UNESCO project.<\/p>\n

Polish Cultural Institute New York invited two guests from the US, Annette Insdorf \u00a0Professor of Film at the Columbia University\u2019s School of the Arts, and Barbara Miller Deputy Director for Curatorial Affairs at Museum of the Moving Image (MoMI) in New York, to take part in this conference.<\/p>\n

\n
\n
Tuesday, June 29, 2021 at 12pm EDT:\u00a0Interview with\u00a0Annette Insdorf\u00a0\u2013 the experience of teaching Kie\u015blowski to new generations of students. Conducted by\u00a0Micha\u0142 Oleszczyk.<\/strong><\/div>\n<\/div>\n<\/div>\n\n\n\n
\"\"
Annette Insdorf<\/figcaption><\/figure><\/div>\n\n\n\n

Annette Insdorf<\/strong> is Professor of Film at Columbia University\u2019s School of the Arts. She is the author of Francois Truffaut, a study of the French director\u2019s work; two books about Polish filmmakers\u2014Double Lives, Second Chances: The Cinema of Krzysztof Kieslowski and Intimations: The Cinema of Wojciech Has; Philip Kaufman, and the landmark study, Indelible Shadows: Film and the Holocaust (with a foreword by Elie Wiesel). Her latest book is Cinematic Overtures: How to Read Opening Scenes, and she received the Mel Novikoff Award from the 2018 San Francisco Film Festival.<\/p>\n\n\n\n

Monday, June 28, 2021 at 10am EDT: Exhibition trends of film archives<\/strong><\/p>\n\n\n\n

Presentation of Polish and American experiences in the field of exhibitions using film and biographical archives. Film museums. What does cinema bring to the art of exhibition. Plasticity of the film material. Reflection on the development of a new exhibition genre. Audiovisualism as a new instrumentation of exhibition art. Videographic scenography. Good practices and challenges of exhibitions dealing with film topics (installation, maintenance, restoration).<\/p>\n\n\n\n

Moderator: Rafal Syska
Rafa\u0142 Syska \u2013 Director, National Centre for Film Culture
Barbara Miller \u2013 Museum of the Moving Image New York<\/p>\n\n\n\n

\"\"
Barbara Miller<\/figcaption><\/figure><\/div>\n\n\n\n

In an illustrated presentation, Barbara Miller,<\/strong> Deputy Director for Curatorial Affairs at Museum of the Moving Image (MoMI) in New York, will offer an overview of the Museum\u2019s permanent collection of material culture, and talk about the types of \u201estories\u201d the Museum tells in exhibitions using film-related objects. She will focus on the creation of MoMI\u2019s Jim Henson Exhibition<\/em> and also its presentation of a Martin Scorsese exhibition (the latter originated at the Deutsche Kinemathek), two \u201ecase studies\u201d that explore the career of a filmmaker through objects related to their work. Her talk will probe questions concerning film-related exhibitions, including: how can such presentations deepen our understanding of a filmmaker\u2019s art? How do you achieve an exhibition that is illuminating without fetishizing the objects related to the artist\u2019s work? How do you keep a balance between focusing on the artwork (ie the films) and the related \u201eephemera\u201d?<\/p>\n\n\n\n

Krzysztof Kieslowski<\/strong> (1941-1996) best known for his internationally acclaimed 1990s films The Double Life of Veronique<\/em> and the Three Colors Trilogy<\/em>: Blue<\/em>, White<\/em>, and Red<\/em>, was a graduate of the prestigious Lodz Film School and started his career in television with documentaries and dramas that captured the daily lives of working class people. From his earliest documentations of Polish factory life to his first forays into psychological portraiture, and from the religious-existential gambits of his Solidarity-era features to the star-studded festival favorites that cemented him as one of the most important filmmakers of the 1990s, Kieslowski was always drawn to the infinite, sometimes absurd, other times infuriating, complexities of our lives. Kieslowski made films for television long before it was fashionable. And he didn\u2019t make ordinary television: he made The Decalogue<\/em>, arguably the greatest TV miniseries of all time. And long before Hollywood movies were required to have franchise potential, his Three Colors<\/em> trilogy was an arthouse juggernaut, setting three international movie stars Juliette Binoche, Julie Delpy, and Irene Jacob into a loosely interconnected cycle that mirrored the challenges of European unification\u2013challenges that continue today.<\/p>\n\n\n\n

More info and RSVP<\/a><\/strong><\/p>\n\n\n\n

\"\"<\/figure>\n","protected":false},"excerpt":{"rendered":"

June 28-29, 2021ONLINE\/SOKO\u0141OWSKO, Poland\u00a0More info and RSVP International conference in commemoration of Krzysztof Kieslowski\u2019s 80th anniversary of his birth The conference organized by the Foundation for Contemporary Art In Situ, which looks after and develops\u00a0the collection of The Krzysztof Kie\u015blowski Archives, will provide a platform for exchange of experiences for archivists, curators, researchers and other […]<\/p>\n","protected":false},"author":105,"featured_media":4274,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[9],"tags":[],"class_list":["post-4273","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film"],"yoast_head":"\nIlluminating the archives \u2013 film archives alive and their audiences - 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The conference is supported by the National Center for Film Culture in \u0141\u00f3d\u017a, the institution managing the \u0141\u00f3d\u017a City of Film UNESCO project.\nPolish Cultural Institute New York invited two guests from the US, Annette Insdorf \u00a0Professor of Film at the Columbia University\u2019s School of the Arts, and Barbara Miller Deputy Director for Curatorial Affairs at Museum of the Moving Image (MoMI) in New York, to take part in this conference.\nTuesday, June 29, 2021 at 12pm EDT:\u00a0Interview with\u00a0Annette Insdorf\u00a0\u2013 the experience of teaching Kie\u015blowski to new generations of students. Conducted by\u00a0Micha\u0142 Oleszczyk.\nAnnette Insdorf is Professor of Film at Columbia University\u2019s School of the Arts. 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Good practices and challenges of exhibitions dealing with film topics (installation, maintenance, restoration).\nModerator: Rafal SyskaRafa\u0142 Syska \u2013 Director, National Centre for Film CultureBarbara Miller \u2013 Museum of the Moving Image New York\nIn an illustrated presentation, Barbara Miller, Deputy Director for Curatorial Affairs at Museum of the Moving Image (MoMI) in New York, will offer an overview of the Museum\u2019s permanent collection of material culture, and talk about the types of \u201estories\u201d the Museum tells in exhibitions using film-related objects. She will focus on the creation of MoMI\u2019s Jim Henson Exhibition and also its presentation of a Martin Scorsese exhibition (the latter originated at the Deutsche Kinemathek), two \u201ecase studies\u201d that explore the career of a filmmaker through objects related to their work. Her talk will probe questions concerning film-related exhibitions, including: how can such presentations deepen our understanding of a filmmaker\u2019s art? How do you achieve an exhibition that is illuminating without fetishizing the objects related to the artist\u2019s work? How do you keep a balance between focusing on the artwork (ie the films) and the related \u201eephemera\u201d?\nKrzysztof Kieslowski (1941-1996) best known for his internationally acclaimed 1990s films The Double Life of Veronique and the Three Colors Trilogy: Blue, White, and Red, was a graduate of the prestigious Lodz Film School and started his career in television with documentaries and dramas that captured the daily lives of working class people. From his earliest documentations of Polish factory life to his first forays into psychological portraiture, and from the religious-existential gambits of his Solidarity-era features to the star-studded festival favorites that cemented him as one of the most important filmmakers of the 1990s, Kieslowski was always drawn to the infinite, sometimes absurd, other times infuriating, complexities of our lives. Kieslowski made films for television long before it was fashionable. And he didn\u2019t make ordinary television: he made The Decalogue, arguably the greatest TV miniseries of all time. And long before Hollywood movies were required to have franchise potential, his Three Colors trilogy was an arthouse juggernaut, setting three international movie stars Juliette Binoche, Julie Delpy, and Irene Jacob into a loosely interconnected cycle that mirrored the challenges of European unification\u2013challenges that continue today.\nMore info and RSVP"},{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/newyork\/2021\/05\/31\/kieslowski\/#primaryimage","url":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2021\/06\/HOMMAGE_KONFERENCJA_1920x1080-2.png","contentUrl":"https:\/\/instytutpolski.pl\/newyork\/wp-content\/uploads\/sites\/15\/2021\/06\/HOMMAGE_KONFERENCJA_1920x1080-2.png","width":1920,"height":1080},{"@type":"BreadcrumbList","@id":"https:\/\/instytutpolski.pl\/newyork\/2021\/05\/31\/kieslowski\/#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/instytutpolski.pl\/newyork\/"},{"@type":"ListItem","position":2,"name":"Illuminating the archives \u2013 film archives alive and their audiences"}]},{"@type":"WebSite","@id":"https:\/\/instytutpolski.pl\/newyork\/#website","url":"https:\/\/instytutpolski.pl\/newyork\/","name":"Instytut Polski w Nowym Jorku","description":"Instytuty Polskie","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/instytutpolski.pl\/newyork\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"pl-PL"},{"@type":"Person","@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/04d40cd80c1729a7f440613bee4073b6","name":"klaudia","image":{"@type":"ImageObject","inLanguage":"pl-PL","@id":"https:\/\/instytutpolski.pl\/newyork\/#\/schema\/person\/image\/","url":"https:\/\/secure.gravatar.com\/avatar\/649cd2d4f6b3f48c5bf42d51f7e665fb?s=96&d=mm&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/649cd2d4f6b3f48c5bf42d51f7e665fb?s=96&d=mm&r=g","caption":"klaudia"},"sameAs":["http:\/\/lukasz.sienkiewicz@msz.gov.pl"],"url":"https:\/\/instytutpolski.pl\/newyork\/author\/stypulkowskaa\/"}]}},"_links":{"self":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/4273","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/users\/105"}],"replies":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/comments?post=4273"}],"version-history":[{"count":7,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/4273\/revisions"}],"predecessor-version":[{"id":4287,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/posts\/4273\/revisions\/4287"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/media\/4274"}],"wp:attachment":[{"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/media?parent=4273"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/categories?post=4273"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/instytutpolski.pl\/newyork\/wp-json\/wp\/v2\/tags?post=4273"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}