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This conversation took place during the first and second lockdown in 2020. Her most recent publication, BE GOOD, IF YOU CAN’T BE GOOD, BE GOOD AT IT Boom Boom Boom Boom (2021), brings together her correspondence with fellow artist Eva Giolo on the act of writing and of filmmaking. Arthur’s writing on moving image has recently been published by Sabzian and Film Place Collective. She is co-founder of elephy, a production and distribution platform for film and media art based in Brussels, and project coordinator of the Creative Europe-funded project On & For Production and Distribution (2018-2021), conceived to support the field of artists’ moving image.
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How, what, where, and why?Īfter the first instalment with Herman Asselberghs, we continue the series with Rebecca Jane Arthur, a Scottish visual artist, living in Brussels. ‘One spectator among others’ attempts to see the trees for the wood through a simple observation: we watch. Our social life is punctuated by (pressing) questions, (cautious) recommendations and (resolute) judgments about the films available: “Did you watch this? And have you seen that? Not to be missed! Make sure to check it out! Overrated!” With all of the viewing pleasure, but also the overchoice, overkill or forbearance that entails. Down the street, someone is sitting on a bench, moved by the emotional denouement of an old romcom, or excited at the trailer of the next superhero movie. Waiting for the metro, someone bursts out laughing at who knows what on their smartphone. The film spectator has taken to the street. We may watch the same films but not necessarily at the same time. We look in a fragmented but not necessarily aimless way. Never before have people watched so much, at all imaginable times and places, in all conceivable positions and relations.
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Never before have there been so many opportunities to shape one’s own viewing practice.
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Professional spectators and Sunday viewers, economical viewers and polyviewers, always-and-everywhere-viewers, legal and illegal viewers, model viewers, social viewers, solitary viewers, solidary viewers, distracted viewers, enchanted viewers, youthful viewers, adult viewers, secret viewers, onlookers, eccentric viewers, gloomy viewers and peepers. But always also merely one spectator among others.
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Which customs and habits, regulations and prohibitions, places and patterns are part of their viewing practice? What place does film-watching have in their professional and personal lives? And is the movie theatre (still) part of their relationship with film? The series offers an introspective view of spectatorship as an activity and attitude, as a tenacious practice of watching, listening, reading, feeling, doing and thinking, with the spectator as a writer of their own singular story, with their own personal style, vocabulary, and idiosyncratic use of accents and punctuation. Filmmakers, artists, critics, researchers, authors, programmers, cinemagoers, TV enthusiasts, Netflixers, YouTubers, torrent users. In the series ‘ One Spectator Among Others’ Herman Asselberghs and Gerard-Jan Claes invite various passionate film lovers to elaborate on their viewing practice by email.