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Since the infancy of cinema\, when moviegoers would watch in disbelief a s two-dimensional images leapt into life\, painting and film have enjoyed a fruitful if sometimes fraught relationship. Cinematic Visions: Paintin g at the Edge of Reality (8 June to 3 August) takes as its starting po int an ongoing dialogue between the two media\, looking at the enduring inf luence of film on visual artists and how in an age of the Internet and soci al media painters continue to engage with and redefine their practice in re lation to the moving image. At the exhibition's heart are questions about t ime\, technology\, narrative\, memory and their impact upon contemporary pa inting.

The exhibition brings together a broad spectrum of leading artists\, prompting thematic co nversations across generations\, between those who rose to prominence durin g the closing decades of the last century and younger artists who have foun d their voice in today's world\, a place of incalculably more images\, wher e distinct movements have given way to heterogeneity and the availability o f and reliance on technology is taken as given. Shifting ideas about portra iture and our relationship to the body are central themes. Ian and Mary\, 1 971\, by the late American painter Alice Neel\, is one of a handful of imag es in the exhibition painted directly from life\, yet in her spare\, urgent paintings Neel\, who famously stated 'I don't do realism' always alerts us to pictorial shifts and disjunctions that trigger psychological readings b eyond the painted surface. Painted four decades later\, Chantal Joffe's Jes sica\, 2012\, a portrait of the actress Jessica Chastain\, was made by rema rkably different means. The result of a photographic shoot directed remotel y by Joffe via Skype\, the painting could be regarded as an archetypal twen ty-first-century hybrid - an oil painting derived from a photographic image \, which was created via camera and screen with artist and model thousands of miles apart. Joffe's is certainly a highly mediated image\, yet her dire ct painterly approach bestows a convincing physicality that\, as with Neel' s painting\, transcends space and time.

Painting\, like film\, is revealed to be a powerful motor in the creation of fiction. Like cinematic moments\, many of the works in t he exhibition invite us to construct a whole from isolated images. In Eric Fischl's Victoria Falls\, 2013\, figures ascending and descending are caugh t in a moment of stasis that resembles a perilous psychological dance. The noir-ish scene depicted in Hernan Bas' HOAX REVEALED: the Devil of Deckhear t Manor caught on film\, 2013\, reads like a still from an imagined movie\, one in which the central character - a figure in disguise - seems humorous ly to question ideas of authenticity and authorship.

Peter Doig\, whose practice over the past twe nty years has drawn heavily on the language of cinema\, layers the personal and public\, figurative and abstract\, visual and conceptual in works that resonate with narrative potential. In 2003\, Doig started a film club\, St udioFilmClub\, in his studio near Port of Spain\, Trinidad\, making posters for the weekly screenings. An audience member walking in front of the scre en\, casting a shadow across the moving image\, inspired the artist to crea te a version of Lapeyrouse Wall\, one of a number of works by Doig that dep ict a mysterious figure walking beside a cemetery wall. In Doig's shadow wo rld the real and cinematic merge. Fittingly\, the image was eventually repr oduced as a poster for the 2008 Trinidad Tobago Film Festival.

While several of the images in C inematic Visions appear haunted or suggest heightened states\, as in t he metaphysical world conjured by Chris Ofili in Ovid-Windfall\, 2011-2012\ , others seem subject to unseen forces or interior compressions. For many a rtists in the exhibition\, the radical language of modernist painting devel oped during the early twentieth century - of collapsing and expanding pictu re planes responding to the frenetic pace and fragmentary encounters of mod ern life - continues to evolve as distortions and mutations of the image ta ke on new permutations with each technological advance. Cinematic Visio ns examines how\, through a variety of painterly strategies and gestur es\, figuration starts to break down and\, conversely\, how a residual figu rative substratum can be found in even the most apparently abstract image. In Cecily Brown's Sweetly Reminiscent\, Something Mother Used to Make\, 201 3\, brush marks and body parts\, paint and flesh\, begin to dance in a cont emporary bacchanal. The cut and splice of Wangechi Mutu's hybrid figures an d Inka Essenhigh's sinuous biomorphs\, meanwhile\, seem to exist on a slidi ng scale between figuration and abstraction\, realism and surrealism.

For many artists the questio ns\, diversions\, doubts and decisions of the painting process become ways of altering an image's rhythm\, narrative and meaning. If film has the capa city to capture its subject in an instant and painting\, by its nature\, re quires time for its production\, the decelerated space of painting becomes an expanded arena for enquiry. Painted surfaces invite the eye to linger. W orking between surface and image\, flatness and materiality\, source and tr ansformation\, artists such as Peter Doig\, Chris Ofili\, Eric Fischl and L uc Tuymans harness the operations of memory and desire to uniquely atmosphe ric ends. In more abstract works by Yayoi Kusama\, Adriana Varejão\,and Nic holas Hlobo\, embellished surfaces are designed to engage the mind while le ading the eye on an orchestrated journey around the picture plane. < br />
It is through these shifts and nuances of pace and touch that the paintings in Cinematic Visions address the slippery world of image making and image reading in the twenty- first century\, where access can be instantaneous yet often at one remove a nd the screen dominates experience. If individually some of the works bear a resemblance to film stills\, installed across all three spaces of Victori a Miro Gallery the paintings gain a cumulative momentum that can be thought of as a kind of tracking shot. Narrative threads are revealed and renewed with each experience of viewing. The act of looking becomes cinematic.

DTEND:20130803 DTSTAMP:20141228T203448 DTSTART:20130608 GEO:51.5313499;-0.0958947 LOCATION:Victoria Miro Gallery\,16 Wharf Road \nLondon\, N1 7RW SEQUENCE:0 SUMMARY:Cinematic Visions: Painting at the Edge of Reality\, Njideka Akunyi li\, Ali Banisadr\, Hernan Bas\, Joe Bradley\, Cecily Brown\, Jules de Bali ncourt\, Peter Doig\, Inka Essenhigh\, Eric Fischl\, Barnaby Furnas\, David Harrison\, Secundino Hernández\, Nicholas Hlobo\, Chantal Joffe\, Sandro K opp\, Harmony Korine\, Yayoi Kusama\, Glenn Ligon\, Wangechi Mutu\, Alice N eel\, Chris Ofili\, Celia Paul\, Philip Pearlstein\, Elaine Reichek\, Luc T uymans\, Adriana Varejão\, Suling Wang\, Lynette Yiadom-Boakye UID:279143 END:VEVENT BEGIN:VEVENT DTEND:200000 DTSTAMP:20141228T203448 DTSTART:180000 GEO:51.5313499;-0.0958947 LOCATION:Victoria Miro Gallery\,16 Wharf Road \nLondon\, N1 7RW SEQUENCE:0 SUMMARY:Cinematic Visions: Painting at the Edge of Reality\, Njideka Akunyi li\, Ali Banisadr\, Hernan Bas\, Joe Bradley\, Cecily Brown\, Jules de Bali ncourt\, Peter Doig\, Inka Essenhigh\, Eric Fischl\, Barnaby Furnas\, David Harrison\, Secundino Hernández\, Nicholas Hlobo\, Chantal Joffe\, Sandro K opp\, Harmony Korine\, Yayoi Kusama\, Glenn Ligon\, Wangechi Mutu\, Alice N eel\, Chris Ofili\, Celia Paul\, Philip Pearlstein\, Elaine Reichek\, Luc T uymans\, Adriana Varejão\, Suling Wang\, Lynette Yiadom-Boakye UID:279144 END:VEVENT END:VCALENDAR