The symposium is fonded by Kunstnernes hus, Kunsthøyskolen i Oslo and Norsk Filminstitutt, in collaboration with The Fritt Ord Foundation.

The past decade has witnessed a number of initiatives for new ways of producing, distributing, and screening film and video art in Norway, as well as for new forms of education and organization. Such initiatives are launched both by visual artists who want to create more professionalized productions and by film directors and producers who desire greater flexibility and artistic freedom. Several Norwegian artists are now collaborating with film producers and seeking both production and distribution support for their cinematic ventures, while directors hailing from a more traditional background within film seek both inspiration from and collaboration with artists and art institutions. At the moment, the field is blossoming throughout the Nordic countries.

Our aim for the Art at the Movies symposium is to reflect some of the energy inherent in this new field, show the range of new productions and projects by filmmakers and artists alike, and facilitate a discussion on shared artistic concerns and issues. During the symposium, several new film and video pieces will be screened. A key aspect of the symposium is that actors from fields that traditionally have been separated will meet and exchange experiences. The symposium is open for all.

Art at the Movies will cover three areas of focus:

Educating filmmakers. How are filmmakers educated in the Nordic countries? And is it possible to outline an alternative way of training filmmakers in Norway?

Production, distribution, display. Film directors and visual artists have traditionally had entirely different ways of creating and distributing films. Does “the new cinematic art” require new forms of production and distribution? What common venues are there for cinematic art and artists moving images, and how can these be more advantageously organized?

Language and culture in cinematic art and the visual arts. Broadly speaking, the field “between film and art” represents an encounter between two cultures. What sort of language and self-concept do these cultures have, and how have they been shaped by the specific economic and historical conditions from which they stem?