Ariane Noel de Tilly

Publications

• "Affronts to Inertia: ATSA's Staged Encounters," Art Matters: International Journal for Technical Art History, special issue No. 1, Fall 2021.
• "Sans titre (les ripostes de Klaus Scherübel),” exPosition: Doublement exposée, 6, No. 2, Fall 2021.
• "Edited Time: The Temporal Investigations of Raqs Media Collective and Scott Billings," ASAP/Journal, 2019.
• "Entre fiction etréalité: comment metre en lumière le travail d'artistes laissés dans l'ombre / Between Fiction and Reality: How to Shed Light on Artists Who Have Been Left in the Shadows," Ciel variable, No. 109, spring/summer 2018, p. 36-41.
• "Moving Away from the Artist's Sway: Changes in the Critical Reception of Mike Kelley's Day Is Done," in Erma Hermens and Frances Robertson, eds. Authenticity in Transition: Changing Practices in Art Making and Conservation, London: Archetype, 2016, p. 37–45.
• "Revisiter l'histoire par fragments: trois récents projets de Stan Douglas / Revisiting History in Fragments: Three Recent Projects by Stan Douglas," Ciel variable, No. 98, Fall 2014, p. 54–63.
• "On Passages Between Art and Cinema" in Julia Noordegraaf, Cosetta G. Saba, Barbara Le Maître and Vinzenz Hediger, eds., Preserving and Exhibiting Media Art: Challenges and Perspectives, Amsterdam: Amsterdam University Press, 2013, p. 342–345.
• With Julia Noordegraaf, "Epilogue" in Julia Noordegraaf, Cosetta G. Saba, Barbara Le Maître and Vinzenz Hediger, eds., Preserving and Exhibiting Media Art: Challenges and Perspectives, Amsterdam: Amsterdam University Press, 2013, p. 407–413.
• "Qu'est-ce que l'œuvre? Sur les enjeux de l'exposition, la distribution et la préservation des installations vidéographiques et filmiques," Circuit, musiques contemporaines, Les Presses de l'Université de Montréal, Vol. 23, No. 2, September 2013, p. 9–23.
• "Sur l'impossibilité d'une réexposition? Le cas de l'œuvre Day Is Donede Mike Kelley" in Francine Couture, ed., Variations et pérennité des œuvres contemporaines?, Montréal: Éditions Multi Mondes, Collection Cahiers de l'Institut du patrimoine de l'UQAM, No. 14, 2013, p. 79–99.
• "Moving images, editioned artworks and authenticity" in Erma Hermans and Tina Fiske, eds., Art, Conservation and Authenticities: Material, Concept, Context, London: Archetype Publishing, 2009, p. 208–216.
• "Recent Surveys on the Projected Image: A Look at Different Interpretations," Cinema & Cie: International Film Studies Journal, Vol. 9, No. 12, April 2009, p. 71–77.
• "Réexposer Perdu dans la nature" in Actes du 5ecolloque du Département d'histoire, Québec: CELAT, Artefact, 2006, p. 119–130.

Presentations

• "Blurring the lines between fiction and reality: Carol Sawyer's Speculative History." Presented panel "Fictioning" as Frictioning in Creative Practicen at Annual Conference of the Universities Art Association of Canada (UAAC-AAUC), Quebec City, Canada, Oct. 26, 2019.
• "How Video Art Called for New Exhibition Formats." Presented panel The Place of Art. The Re-definition of the Exhibition Format in the 70s at College Art Association (CAA) Annual Conference, New York, Feb. 13–16, 2019.
• "The Phenomenon of Slow Motion Perception in the Works of Scott Billings and Raqs Media Collective." Presented at As Slowly as Possible: A Symposium of the Association for the Study of the Arts of the Present. Vrije Universiteit, Amsterdam, Netherlands, May 24–26, 2018.
• "What Remains of ATSA's State of Emergency." Presented at Conference Material Futures: Matter, Memory and Loss in Contemporary Art Production and Preservation, Centre for Contemporary Art, Glasgow, Scotland, June 29–30, 2017.
• "When Artists Declare a State of Emergency: The Collective ATSA at Work." Presented panel When Art Claims to Do Good: Assessing the Impact of Socially Engaged Art at College Art Association (CAA) Annual Conference, New York, Feb. 15–18, 2017.
• "Fiction and Autofiction in Early Video Art." Presented at International Conference on Narrative, University of Amsterdam, Netherlands, June 16–18, 2016.
• "When the critical reception won't let go of the inaugural exhibition: The case of the fragmentation of Mike Kelley's Day Is Done." Presented at Conference Authenticity in Transition: Changing Practices in Contemporary Art Making and Conservation, University of Glasgow and Glasgow School of Art, Glasgow, Scotland, Dec. 1–2, 2014.
• "Of Elephants and Donkeys: The Video Bestiaries of Douglas Gordon and Mike Kelley." Presented panel Animals and Art at Annual Conference of the Universities Art Association of Canada (UAAC/AAUC) 2014 Conference, OCAD University, Toronto, Canada, Oct. 23–26, 2014.
• "Living through instantiations: the variable nature of time-based art." Presented panel Resurrecting the Disappeared: The Problem of Re-Presentation and Exhibition of Time-based Twentieth Century Art in the Twenty-first Century at College Art Association (CAA) Annual Conference, Chicago, IL, Feb. 11–13, 2010.
• "The visitor's understanding of the projection technique." Presented session at "STS on Art and the Art on STS" conference of The Society for Social Studies of Science (4S)/European Association for the Study of Science and Technology (EASST), Rotterdam, Netherlands, Aug. 20, 2008.
• "Expositions récentes sur l'image projetée." Presented at Spring School on Cinema, Contemporary Art, Heritage. Contemporary practices of the image and museum policies, Institut national d'histoire de l'art (INHA), Paris, France, April 20–30, 2008.
• "Re-exhibiting the moving image. Douglas Gordon's Play Dead: Real Time and John Massey's As the Hammer Strikes (A Partial Illustration)." Presented at Conference on Art, Conservation and Authenticities: Material, Concept, Context, University of Glasgow, Glasgow, Scotland, Sept. 12–14, 2007.