This paper focuses on The Third Memory, a re-enactment of Dog Day Afternoon (Lumet, 1975) by French artist Pierre Huyghe. By starting with the theoretical perspective developed by Nicolas Bourriaud in Relational Aesthetics and Postproduction, the essay attempts to show how a relational reading of the re-enactment of Pierre Huyghe may represent a valid investigative tool to analyze the relationship between cinematic narrative structures and everyday life narrative structures, between fiction and reality, in the work of the French artist."and reality, in the work of the French artist.
|Numero di pagine||8|
|Stato di pubblicazione||Published - 2013|