Art contemporain et paracinéma : Rosa Barba, Juliana Borinski et David Maljkovic

Whether explicit or allusive, references to the stragtegies of 1960s paracinema are increasingly part of the "cinematic turn" in contemporary art. Based on the analysis of the work of three artists - Barba, Borinski and Maljkovic - this article attempts to question the discontinuities and genealogical links between the historical practices of paracinema and those, contemporary, which in contemporary art, seem to re-actualise them. The aim is to understand what the displacement of such strategies - at first sight formal - implies in their theoretical, political and spatial dimensions.