tag:blogger.com,1999:blog-90901646567356660672024-03-15T18:09:25.368-07:00roškofrenijapsihodelična centrifuga za pranje mrlja od sperme, krvi i kečapa s mozgova pop-generacijezoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.comBlogger1796125tag:blogger.com,1999:blog-9090164656735666067.post-82413007463834115172020-12-05T06:21:00.000-08:002020-12-05T06:21:22.319-08:00Marcelo Chiriboga - el autor ficticio del boom<p> </p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz3EJ7ilQdI3KXTepDWjRj1cDFH0ZU_-Fc0siiIAB5DtsDyYwCCD6heGG28T0MsVFSRLTmnTvmR5AHMF7xZXvWh5GcqKSElrc2v5KozoqC9KcV2fBMo9AQ7YWyiu8N-k9KMpsAIBhX-Bh5/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="467" data-original-width="831" height="385" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiz3EJ7ilQdI3KXTepDWjRj1cDFH0ZU_-Fc0siiIAB5DtsDyYwCCD6heGG28T0MsVFSRLTmnTvmR5AHMF7xZXvWh5GcqKSElrc2v5KozoqC9KcV2fBMo9AQ7YWyiu8N-k9KMpsAIBhX-Bh5/w684-h385/image.png" width="684" /></a></div><p></p><p><b><span style="font-size: x-large;">Dokumentarni film Javiera Izquierdea o životu i djelu Chiriboge, ekvadorskog pisca kojeg su izmislili José Donoso i Carlos Fuentes.</span></b></p><p><a href="https://www.arcoiris.tv/scheda/es/87/"><span style="font-size: x-large;">https://www.arcoiris.tv/scheda/es/87/</span></a></p><p><br /></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnePHR-Tq76ibF1_h4iwjsgFzt8Zav1s5CK6E09nc39Trw_xaeFL04Hf5e8k6nHCOurGogOMetG0yYGR6z5eFL6lMW8d-GPZ79Sv-l61zfc8gp-rAV9uKvmXtY6zo62cPqaPa6BmEN1HWt/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="446" data-original-width="318" height="401" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnePHR-Tq76ibF1_h4iwjsgFzt8Zav1s5CK6E09nc39Trw_xaeFL04Hf5e8k6nHCOurGogOMetG0yYGR6z5eFL6lMW8d-GPZ79Sv-l61zfc8gp-rAV9uKvmXtY6zo62cPqaPa6BmEN1HWt/w286-h401/image.png" width="286" /></a></div><br /><br /><p></p><p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCXkM6dkLWpqcaAbYNJ_8QidbsWr6gwPdI6ZCcpTcXqgrR6sKS6PifoZS9bnWu36wBtwQ1aIC92llBtH9LwFrB6GotEVOKejhsj-V-IZhqr_X3wwVf5gRHIZWhT7_qRDgzT4VREL2SuLJh/" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="1181" data-original-width="768" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiCXkM6dkLWpqcaAbYNJ_8QidbsWr6gwPdI6ZCcpTcXqgrR6sKS6PifoZS9bnWu36wBtwQ1aIC92llBtH9LwFrB6GotEVOKejhsj-V-IZhqr_X3wwVf5gRHIZWhT7_qRDgzT4VREL2SuLJh/w260-h400/image.png" width="260" /></a></div><br /><br /><p></p>zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com7tag:blogger.com,1999:blog-9090164656735666067.post-51604325027080891502020-10-14T09:34:00.002-07:002021-01-11T22:53:10.157-08:00Moj novi roman - Bogart i Seranoga<div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXMYKIsorpv4f6awUTeuqgEDOH7SJdT-pSSYW5j5p9qbZTyQCSJpGP_UQuikZnFFq8Nii8daQU3c1my4jCQHihUrn0_ZwM_dQLCRHjskfKUn5e3aNJ45dYUOKC9uca13Ms1SjHHIEKx9bx/s2048/rosko.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="1344" height="997" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjXMYKIsorpv4f6awUTeuqgEDOH7SJdT-pSSYW5j5p9qbZTyQCSJpGP_UQuikZnFFq8Nii8daQU3c1my4jCQHihUrn0_ZwM_dQLCRHjskfKUn5e3aNJ45dYUOKC9uca13Ms1SjHHIEKx9bx/w653-h997/rosko.jpg" width="653" /></a></div><br /><div><br /></div><div>ulomak:</div><div><a href="https://kritika-hdp.hr/index.php/hr/iz-radionice/bogart-i-seranoga">https://kritika-hdp.hr/index.php/hr/iz-radionice/bogart-i-seranoga</a></div><div><br /></div><div><p class="western" style="line-height: 108%; margin-bottom: 0.28cm;">
<span style="font-size: medium;">U ovoj urnebesnoj mješavini
krimića, grčke tragedije i homeopatskog futurizma svijetom vladaju
algoritmi, a ljudi (opet) znaju gdje im je mjesto – daleko ispod
„bogova”. No to je futurizam bez budućnosti (budućnost se već
dogodila, a nepoznanica je prošlost - jer se stalno mijenja), krimić
u kojem se ubojstva tek trebaju dogoditi. Likovi koji izgledaju poput
Bogarta, Becall, Bergman i Warhola, ali to nisu, u lančanom reaktoru
obrata i iznenađenja razmeću se šašavim tragedijama, kao u
Chandlerovim krimićima. Grčke tragedije govorile su zapravo o
algoritmima, sada algoritmi ispisuju novu grčku tragediju, a
najvažnije je pitanje: </span><span style="font-size: medium;"><span style="font-weight: normal;">što
se događa ako spajanje ljudi (organske inteligencije) i algoritama
(anorganske inteligencije) ne uspije? Junaci uvijek propadaju jer
imaju „jedno oko previše”.</span></span></p>
<p class="western" style="line-height: 108%; margin-bottom: 0.28cm;"><span style="font-size: medium;">No
u svemu tome nema ničega tragičnog, ovaj roman začinje novu
religiju, istins</span><span style="color: black;"><span style="font-size: medium;">ki
je utješan jer potvrđ</span></span><span style="font-size: medium;">uje
da su ljudi iznimni baš zato što su strašni, jer nitko ne bi
otvoreno bi</span><span style="color: black;"><span style="font-size: medium;">o
toliko uža</span></span><span style="font-size: medium;">san
kada iza njega ne bi nešto stajalo. I zaista, i stoji: u svojem
dubokom zlu ljudi skrivaju i čuvaju neizmjernu ljubav da je ne bi
oteo kozmički predator. U ljudima živi mrtvi bog, oni su grobnica
ljubavi. No tko je predator?</span></p>
<p class="western" style="line-height: 108%; margin-bottom: 0.28cm;"><span style="font-size: medium;">Distopijska
komedija s mnoštvom sudbinskih odgovora na loša pitanja. </span><span style="font-size: medium;"><span style="font-style: normal;"><span style="font-weight: normal;">Miks</span></span></span><span style="font-size: medium;"><i><span style="font-weight: normal;">
2001.: Odiseje u svemiru, </span></i></span><span style="font-size: medium;"><span style="font-weight: normal;">Stockhausena,
Raymonda Chandlera, Nicka Landa, Flanna O'Briena, Euripida i Alana
Forda. Pomrčina romana po kojoj će se pamti</span></span><span style="color: black;"><span style="font-size: medium;"><span style="font-weight: normal;">ti
23. prosinca 2020.</span></span></span></p>
<p class="western" style="line-height: 108%; margin-bottom: 0.28cm;"><br />
<br />
</p>
<p class="western" style="line-height: 108%; margin-bottom: 0.28cm;"><span style="font-size: medium;"><i><span style="font-weight: normal;">Dragi,
ti si velika, neizmjerno duboka tajna, ali nitko je više ne želi
otkriti.</span></i></span></p>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br /></div><div><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike>razgovor i ulomak romana (Treći program Hrvatskog radija)</div><div><a href="https://radio.hrt.hr/aod/zoran-rosko-bogart-i-seranoga/357984/">https://radio.hrt.hr/aod/zoran-rosko-bogart-i-seranoga/357984/</a></div><div><br /></div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><iframe allowfullscreen='allowfullscreen' webkitallowfullscreen='webkitallowfullscreen' mozallowfullscreen='mozallowfullscreen' width='320' height='266' src='https://www.blogger.com/video.g?token=AD6v5dzKr9dmvtHzvOn5_xknrXbqodhR3LE2jcNJgOe-1p8AFz93wjlgX-U3BgVbs5g5B5b4dMukEUcO4dZl3R-5iA' class='b-hbp-video b-uploaded' frameborder='0'></iframe></div><br /><div>Recenzija:</div><div><a data-saferedirecturl="https://www.google.com/url?q=https://svijetfilma.eu/recenzija-knjige-bogart-i-seranoga/&source=gmail&ust=1610520689105000&usg=AFQjCNFGoa_8dPCfAw9KsMuv80DR37QXfA" href="https://svijetfilma.eu/recenzija-knjige-bogart-i-seranoga/" style="-webkit-text-stroke-width: 0px; color: #1155cc; font-family: Arial,Helvetica,sans-serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; text-align: left; text-decoration: underline; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" target="_blank">https://svijetfilma.eu/<wbr style="display: inline-block;"></wbr>recenzija-knjige-bogart-i-<wbr style="display: inline-block;"></wbr>seranoga/</a><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br /></div>zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com1tag:blogger.com,1999:blog-9090164656735666067.post-63040973810284930712020-10-14T02:03:00.004-07:002020-10-14T03:01:42.385-07:00Sanna Kekäläinen - My Sword has 7 Edges and 3 Knots (1992)<div><a aria-label="Otvorite Turun Sanomat" class="eHAdSb" data-ved="0CAIQjRxqFwoTCLDG1abcs-wCFQAAAAAdAAAAABAD" href="https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.ts.fi%2Fkulttuuri%2F679066%2FMita%2Bkuka%2B%2Bjotain%2B%2Bmika%2Bei%2Bole%2Baivan%2Bok&psig=AOvVaw0K1V4n8LGs78hMxMTwnYu0&ust=1602752445442000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCLDG1abcs-wCFQAAAAAdAAAAABAD" jsaction="focus:kvVbVb; mousedown:kvVbVb; touchstart:kvVbVb;" rel="noopener" rlhc="1" role="link" style="-webkit-text-stroke-width: 0px; color: #2962ff; display: inline-block; font-family: Roboto,HelveticaNeue,Arial,sans-serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; outline-color: invert; outline-style: none; outline-width: medium; outline: invert; position: relative; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" tabindex="0" target="_blank"><img alt="Mitä, kuka – jotain, mikä ei ole aivan ok - Kulttuuri - Turun Sanomat" class="n3VNCb" data-noaft="1" height="640" jsaction="load:XAeZkd;" jsname="HiaYvf" src="https://www.ts.fi/static/content/pic_5_679066_k679067_1200.jpg" style="background-color: white; background-image: linear-gradient(45deg, rgb(239, 239, 239) 25%, rgba(239, 239, 239, 0) 25%, rgba(239, 239, 239, 0) 75%, rgb(239, 239, 239) 75%, rgb(239, 239, 239)), linear-gradient(45deg, rgb(239, 239, 239) 25%, rgba(239, 239, 239, 0) 25%, rgba(239, 239, 239, 0) 75%, rgb(239, 239, 239) 75%, rgb(239, 239, 239)); background-position-x: 0px, 10px; background-position-y: 0px, 10px; background-position: 0px 0px, 10px 10px; background-size: 21px 21px; border-bottom-color: currentColor; border-bottom-style: none; border-bottom-width: medium; border-image-outset: 0; border-image-repeat: stretch; border-image-slice: 100%; border-image-source: none; border-image-width: 1; border-image: none; border-left-color: currentColor; border-left-style: none; border-left-width: medium; border-right-color: currentColor; border-right-style: none; border-right-width: medium; border-top-color: currentColor; border-top-style: none; border-top-width: medium; border: medium; height: 575.71px; margin-bottom: 0px; margin-left: 0px; margin-right: 0px; margin-top: 0px; margin: 0px; vertical-align: middle; width: 384px;" width="427" /></a><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br /></div><div><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br /></div><div><span style="font-size: large;"><b>Moraš biti dovoljno lud i dovoljno racionalan, biti ranjiv i imati dovoljno pozitivnih iskustava.</b></span></div><div><span style="font-size: large;"></span><p style="line-height: 100%; margin-bottom: 0cm;">
<a href="http://www.kekalainencompany.net/wp/en/home/">http://www.kekalainencompany.net/wp/en/home/</a></p><p style="-webkit-text-stroke-width: 0px; color: black; font-family: Times New Roman; font-size-adjust: none; font-size: 16px; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; line-height: 100%; margin-bottom: 0cm; orphans: 2; text-align: left; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;">
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br /></p><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br /></div><div><iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/HOhvg5jq4kA" width="560"></iframe></div><div><br /></div><div><br /></div><div>Sanna Kekäläinen may well be the most important contemporary
Finnish artist</div><div>
<p style="line-height: 100%; margin-bottom: 0cm;">although she is
overshadowed by the popularity of Finnish composers such</p>
<p style="line-height: 100%; margin-bottom: 0cm;">as Kaija Saariaho,
Magnus Lindberg, and Esa-Pekka Salonen. Kekäläinen’s</p>
<p style="line-height: 100%; margin-bottom: 0cm;">works are not
something one goes to see because of instant gratification,</p>
<p style="line-height: 100%; margin-bottom: 0cm;">easy wittiness, or
comfortability. One goes to see Kekäläinen’s works like one</p>
<p style="line-height: 100%; margin-bottom: 0cm;">goes to therapy or
to court. The purpose is not to be entertained, but to get</p>
<p style="line-height: 100%; margin-bottom: 0cm;">to the truth.</p>
<p style="line-height: 100%; margin-bottom: 0cm;">From a layperson’s
point of view, Kekäläinen’s artistic practice approaches</p>
<p style="line-height: 100%; margin-bottom: 0cm;">romantic and sublime
ideals: she is one of the exemplary artists of our time.</p>
<p style="line-height: 100%; margin-bottom: 0cm;">From Kekäläinen’s
own point of view, the work of an artist is much more</p>
<p style="line-height: 100%; margin-bottom: 0cm;">banal and profane:
“I don’t mystify the life of the artist and I don’t consider it</p>
<p style="line-height: 100%; margin-bottom: 0cm;">to be eccentric
compared to other modes of existence. I made the decision to</p>
<p style="line-height: 100%; margin-bottom: 0cm;">pursue this path in
life so early on that it has been carved deep in my identity,”</p>
<p style="line-height: 100%; margin-bottom: 0cm;">she explains. But
even if she understands art as one vocation among others,</p>
<p style="line-height: 100%; margin-bottom: 0cm;">it is apparently
possible only through extraordinary effort. “It’s a difficult</p>
<p style="line-height: 100%; margin-bottom: 0cm;">line of work, in
which you have to bear a great deal of uncertainty,” she says.</p>
<p style="line-height: 100%; margin-bottom: 0cm;">“But I don’t
feel that it amounts to a threat or a gamble, not really.”</p>
<p style="line-height: 100%; margin-bottom: 0cm;">And yet my respect
for Kekäläinen’s work has a lot to do with this courage.</p>
<p style="line-height: 100%; margin-bottom: 0cm;">In her view, “It
also depends on what world a person was born into. You</p>
<p style="line-height: 100%; margin-bottom: 0cm;">have to be crazy
enough and rational enough. You have to be vulnerable, and</p>
<p style="line-height: 100%; margin-bottom: 0cm;">also to have had
enough positive experiences. Somehow there has to be this</p>
<p style="line-height: 100%; margin-bottom: 0cm;">damned psychological
contradiction in a human being before art can happen.”</p>
<p style="line-height: 100%; margin-bottom: 0cm;">In the 1980s
Kekälälinen studied at the London School of Contemporary</p>
<p style="line-height: 100%; margin-bottom: 0cm;">Dance. In 1986 she
helped to found Zodiak Presents, now the Zodiak-Center</p>
<p style="line-height: 100%; margin-bottom: 0cm;">for New Dance in
Helsinki. In 1996 she founded K&C Kekäläinen & Company,</p>
<p style="line-height: 100%; margin-bottom: 0cm;">which she still
directs. - OLLI AHLROOS</p><p style="line-height: 100%; margin-bottom: 0cm;">
</p>
<p style="line-height: 100%; margin-bottom: 0cm;"><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br /></p>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><a href="https://675c90c0-796e-415f-b43c-5278644557e4.filesusr.com/ugd/985310_f4374e1c7a094508a458e244d1fca92b.pdf">Read more here</a><br /></div><div><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br /></div><div><br /></div><div> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/EaRTh6pJ5LE" width="560"></iframe>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/IcZe0YE5i48" width="560"></iframe> <iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/x-p4YUM-WtE" width="560"></iframe>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/PTCASsUJ2vI" width="560"></iframe>
<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/4rrpl_F8Ius" width="560"></iframe>
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/155960219" width="640"></iframe>
</div><p><a href="https://vimeo.com/155960219">Excerpts of PASSION (2016)</a> from <a href="https://vimeo.com/kekalainenco">Kekäläinen & Company</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/114028565" width="640"></iframe>
<p><a href="https://vimeo.com/114028565">Excerpts of PRIVATE - Narcissism remix (2014)</a> from <a href="https://vimeo.com/kekalainenco">Kekäläinen & Company</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="360" src="https://player.vimeo.com/video/418220547" width="640"></iframe>
<p><a href="https://vimeo.com/418220547">Excerpts of If I Would Lose My Voice (2020)</a> from <a href="https://vimeo.com/kekalainenco">Kekäläinen & Company</a> on <a href="https://vimeo.com">Vimeo</a>.</p><p><br /></p><p style="line-height: 100%; margin-bottom: 0cm;">
IF I WOULD LOSE MY VOICE
</p><p>
</p><p style="line-height: 100%; margin-bottom: 0cm;">About humankind’s
irreversible effect on the biosphere</p><p>
</p><p style="line-height: 100%; margin-bottom: 0cm;">If I Would Lose My
Voice, a brand new production by Kekäläinen & Company, is an
extraordinary display of humanity’s impact on Earth’s
transformation. It is a thought-provoking piece about the state of
the world, and how the actions of humankind are affecting nature more
than ever before.</p><p>
</p><p style="line-height: 100%; margin-bottom: 0cm;">In recent years, it
has become commonly accepted that the Earth has shifted into an
entirely new era, the Anthropocene, in which human beings have become
the driving force affecting the world’s ecosystems, geology and
climate. With her new stage piece for the Finnish National Theatre,
Sanna Kekäläinen creates an fictive constellation in which this new
era can be envisioned and imagined through artistic work.</p><p>
</p><p style="line-height: 100%; margin-bottom: 0cm;">The stage of the
Finnish National theatre is where things begin to unfold. The
situation is threatening, there is something unsettling and
irrevocable about the event. We have exploited the world and slowly,
because of this, a new Earth has come alive under us, with new soil,
new waters, new rivers and zones. This new Earth has begun to move,
to tremble, react and froth: the Earth is revolting.</p><p>
</p><p style="line-height: 100%; margin-bottom: 0cm;">If I Would Lose My
Voice is a piece consisting of two independent parts commenting on
each other. The first part is named Voice and the second is My Friend
Ed.</p><p>
</p><p style="line-height: 100%; margin-bottom: 0cm;">Sanna Kekäläinen
is the founder of Kekäläinen & Company and an undisputed
pioneer of Finnish contemporary dance. During her career she has
created more than 70 stage productions that have been presented both
nationally and abroad. With the piece If I Would Lose My Voice she
moves on from her autofictive work tackling gender politics to a new
form of fictional reality.</p><p>
</p><p style="line-height: 100%; margin-bottom: 0cm;">
<a href="https://pragmahelsinki.fi/portfolio/kekalainen-company/">https://pragmahelsinki.fi/portfolio/kekalainen-company/</a></p><p><br /></p>
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="267" src="https://player.vimeo.com/video/324251383" width="640"></iframe>
<p><a href="https://vimeo.com/324251383">Excerpts of VIERAS - FRÄMLING - STRANGER (2019)</a> from <a href="https://vimeo.com/kekalainenco">Kekäläinen & Company</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
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<p><a href="https://vimeo.com/255549629">Excerpts of Hullut 2018</a> from <a href="https://vimeo.com/kekalainenco">Kekäläinen & Company</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
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<p><a href="https://vimeo.com/250272257">Excerpts of Autuaiden lauluja - Songs of the Blissful (1994)</a> from <a href="https://vimeo.com/kekalainenco">Kekäläinen & Company</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
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<p><a href="https://vimeo.com/249374628">Excerpts of White and Silent Cries (1989)</a> from <a href="https://vimeo.com/kekalainenco">Kekäläinen & Company</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
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<p><a href="https://vimeo.com/249374432">Excerpts of My Sword has 7 Edges and 3 Knots (1992)</a> from <a href="https://vimeo.com/kekalainenco">Kekäläinen & Company</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
<iframe allow="autoplay; fullscreen" allowfullscreen="" frameborder="0" height="480" src="https://player.vimeo.com/video/249374191" width="640"></iframe>
<p><a href="https://vimeo.com/249374191">Excerpts of Kuuhullut - Moondrunk (1994)</a> from <a href="https://vimeo.com/kekalainenco">Kekäläinen & Company</a> on <a href="https://vimeo.com">Vimeo</a>.</p><div>
<iframe allowfullscreen="" frameborder="0" height="480" src="https://player.vimeo.com/video/249373737" title="vimeo-player" width="640"></iframe>
<iframe allowfullscreen="" frameborder="0" height="480" src="https://player.vimeo.com/video/249373443" title="vimeo-player" width="640"></iframe>
more videos:</div><div> <a href="https://vimeo.com/kekalainenco">https://vimeo.com/kekalainenco
</a></div>zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-27904225755333648762020-03-17T08:58:00.002-07:002020-03-17T08:58:37.344-07:00Vincent Ward – The Navigator: A Mediaeval Odyssey (1988)<div dir="ltr" style="text-align: left;" trbidi="on">
<div dir="ltr" style="text-align: left;" trbidi="on">
<a aria-label="Otvorite IMDb" class="eHAdSb" data-ved="0CAIQjRxqFwoTCKDT75zpoegCFQAAAAAdAAAAABAD" href="https://www.google.com/url?sa=i&url=https%3A%2F%2Fwww.imdb.com%2Ftitle%2Ftt0095709%2F&psig=AOvVaw0uCW0novGF-FasG4S5PLTU&ust=1584545260848000&source=images&cd=vfe&ved=0CAIQjRxqFwoTCKDT75zpoegCFQAAAAAdAAAAABAD" jsaction="focus:kvVbVb; mousedown:kvVbVb; touchstart:kvVbVb;" rel="noopener" rlhc="1" role="link" style="-webkit-text-stroke-width: 0px; color: #2962ff; display: inline-block; font-family: Roboto,HelveticaNeue,Arial,sans-serif; font-size: 13.33px; font-style: normal; font-variant: normal; font-weight: 400; letter-spacing: normal; orphans: 2; outline-color: invert; outline-style: none; outline-width: medium; position: relative; text-align: center; text-decoration: none; text-indent: 0px; text-transform: none; white-space: normal; word-spacing: 0px;" tabindex="0" target="_blank"><img alt="Slikovni rezultat za Vincent Ward – The Navigator: A Mediaeval Odyssey" class="n3VNCb" data-noaft="1" jsaction="load:XAeZkd;" jsname="HiaYvf" src="https://m.media-amazon.com/images/M/MV5BNWFiODAxMjQtNDUxOC00NmRiLTgyNjUtZWZlM2ZhMjJlMWZhL2ltYWdlL2ltYWdlXkEyXkFqcGdeQXVyMjUwNzU0Njk@._V1_.jpg" style="background-color: #232425; background-image: linear-gradient(45deg, rgb(44, 44, 45) 25%, rgba(44, 44, 45, 0) 25%, rgba(44, 44, 45, 0) 75%, rgb(44, 44, 45) 75%, rgb(44, 44, 45)), linear-gradient(45deg, rgb(44, 44, 45) 25%, rgba(44, 44, 45, 0) 25%, rgba(44, 44, 45, 0) 75%, rgb(44, 44, 45) 75%, rgb(44, 44, 45)); background-position: 0px 0px, 10px 10px; background-size: 21px 21px; border-image: none; border: medium; margin: 0px; vertical-align: middle;" /></a><b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><br />
<b><span style="font-size: x-large;">Tražeći spas od srednjovjekovne kuge prokopaš tunel i završiš u suvremenom Novom Zelandu.</span></b><br />
<b><span style="font-size: x-large;">Ideja za bijeg od korona virusa?</span></b><br />
<b></b><span style="font-size: x-large;"></span><br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/TQa2R4h_tLk" width="560"></iframe><br />
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“A tantalizing meditation on faith, mystery, and imagination.</div>
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<br /></div>
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Sometime in the
Middle Ages, a group of men living in fear of the Black Death follow
the visions of a nine year-old boy (Hamish MacFarlane) to go on a
pilgrimage by digging a tunnel through the center of the earth (!)
emerging instead in twentieth century New Zealand (!) where they try
to complete their journey by erecting a cross atop a church steeple.
A willing suspension of disbelief (or the kind of unquestioning faith
that the main characters have) never hurts when watching something
like this, but if you’re in the right frame of mind, this fable
will gradually draw you into its tantalizing meditation on faith,
mystery, and imagination</div>
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<br /></div>
<div style="line-height: 100%; margin-bottom: 0cm;">
The Navigator’s dream-like storyline revolves around Griffin
(Hamish McFarlane) a psychic nine-year-old boy who experiences
strange visions of an alternate reality. The film begins in
14th-century England in a small snow-tipped mining village, where
news arrives that the Black Plague will soon consume the populace.</div>
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</div>
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A handful of men,
including Griffin’s brother Connor (Bruce Lyons), take the boy’s
advice and, as you do, dig a tunnel deep into the bowels of the earth
in an attempt to find “the far side of the world.” They emerge,
looking understandably perplexed and rather worse for wear, in a late
20th-century metropolis.</div>
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</div>
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The film morphs from
grainy monochrome photography to colour, a transition deployed to
equally striking effect in Wim Wender’s seminal romantic fantasy
Wings of Desire (released one year prior).</div>
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</div>
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Surprises keep
coming, The Navigator’s luminous visual inventions (in part the
work of long-time Australian cinematographer Geoffrey Simpson, who
also shot Shine and Satellite Boy) designed from the perspective of
imagining what a modern world would look like from a medieval
perspective.</div>
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</div>
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Gazing for the first
time at skyscrapers and city buildings lit up in the night, Martin
(Paul Livingston, the Australian comedian best known for appearances
on shows such as Good News Week as his alter ego Flacco) says in
wonder: “It must be God’s city. There’s so much light.”</div>
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</div>
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The chubby and
grubby Ulf (Noel Appleby) finds himself in a precarious situation in
the middle of a busy highway, struck by the beauty of incoming
headlights.</div>
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</div>
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“So pretty, so
pretty,” says the discombobulated time traveller, who lugs around a
wooden carving of the Virgin Mary and looks like a distant relative
of Robin Williams’ crazy homeless man character from Terry
Gilliam’s The Fisher King.</div>
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</div>
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In The Navigator
there are many moments of intense beauty that branch off the film’s
core fish-out-of-water premise, including a man attached to the front
of a fast-moving train and the group’s violent reaction to a
submarine rising from the water (they interpret it as a giant beast
attacking them).</div>
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</div>
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The simplest and
most effective is the sight of Griffin discovering rows of stacked
televisions behind glass in an electronics shop. Film-maker Rolf de
Heer’s staged a similar scene in his 2007 time travel comedy Dr
Plonk, when his displaced protagonist accidentally found himself
transferring from the silent film era to modern society.</div>
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</div>
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The mission for the
characters in The Navigator is to climb to the top of a church spire;
the film is ripe with religious undertones. Ward contemplated ideas
around heaven and hell directly in his more mainstream, but
nevertheless distinctive Hollywood experiment, 1998’s What Dreams
May Come. He was at one point on board to direct Alien 3 after
producer Walter Hill saw The Navigator and was blown away by it.</div>
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Almost three decades
later, the film is still gobsmacking to watch and shows no signs of
ageing. It is the sort of head trip that leaves audiences gasping for
air and critics lunging for adjectives. Turns of phrase such as
“visual poetry” are sometimes synonymous with “boring” or
“plot-less.” That’s certainly not the case here: this is a
jaw-dropping experience up there with cinema’s best out-of-world
experiences. <b>- Luke Buckmaster</b></div>
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</div>
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<a href="https://www.theguardian.com/film/2015/oct/11/the-navigator-a-medieval-odyssey-rewatched-a-jaw-dropping-head-trip">https://www.theguardian.com/film/2015/oct/11/the-navigator-a-medieval-odyssey-rewatched-a-jaw-dropping-head-trip</a></div>
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The Black Death
looms large over the evocative first act of Vincent Ward’s The
Navigator: A Medieval Odyssey. Penitent monks wander the landscape of
14th-century northwestern England, hoping to come under God’s
protection. Occasionally the dead pass through the film’s
black-and-white frames in coffins, with villagers muttering solemnly
about the countless other corpses that litter the country with no one
to give them proper burial. The malaise left by the plague haunts
almost every shot, so plunged in darkness.</div>
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In their fear,
peasants fall back on superstition and faith for comfort. A village
adventurer, Connor (Bruce Lyons), returns from a sojourn shaken by
the spectacle of mass death. Looking to stave off the plague, he and
a group of fellow villagers are drawn to a psychic young boy, Griffin
(Hamish McFarlane), whose visions of earning God’s mercy by placing
a copper cross on the tallest cathedral in the region are taken as
prophecy by his desperate elders.</div>
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This band of men
sets out to cast a copper cross and place it on the steeple of “the
biggest church in all of Christendom.” They tunnel into the earth
for the finest copper ore, only to dig so deep that they travel
through time, emerging in present-day New Zealand—and in so doing,
the film switches to color. In their confusion and provincialism, the
men assume this is what any large city from this period is supposed
to look like, and they navigate Auckland undeterred in their quest.
The stage would appear to be effectively set for a fish-out-of-water
comedy in the vein of Time Bandits.</div>
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</div>
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Ward, though,
doesn’t settle for cliché, tinging his heroes’ journey with a
sense of the fantastic as they confront such obstacles as a bustling
highway, the towering spire of St. Patrick’s Cathedral, even a
submarine that surfaces in a harbor and that the men attempt to spear
like a whale. Ward originally intended to make a jauntier film, and
he even planned to cast little people as the time-traveling troupe.
Yet the final film is a serious attempt to fully empathize with the
displacement felt by his characters.</div>
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</div>
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Take the scene in
which the heroes emerge in Auckland and find themselves at the edge
of the wide and busy highway, scared witless by the existence of
cars. Instead of playing the scene for laughs, Ward homes in on the
sheer terror felt by the old and kindly Ulf (Noel Appleby) as he
unsuspectingly finds himself on the other end of the highway
separated from the rest of his party. Connor reveals his panic over
the group’s situation before then making the decision to abandon
his friend in order to continue their quest—and the scene is capped
by Ward poignantly highlighting the old man’s uncomprehending,
tear-stained face as his friends desert him.</div>
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The party’s
unwavering focus on their quest gives The Navigator its propulsive
momentum. The film’s second half is devoted to the group’s
attempt to place their cross on the spire of St. Patrick’s, a
seemingly simple matter that’s delayed by various
setbacks—digressions that successfully work to enrich the
characters. The issue of Connor’s occasional cowardice and dubious
qualification to lead comes to a head, as does Griffin’s increasing
zeal to contribute to the group’s efforts. Griffin’s religious
fervor is contrasted with the wavering faith of his compatriots, who
feel more displacement than ever when attempting to reconcile St.
Patrick’s, with its classical architecture and interior design,
with the modern city that surrounds it. The doubt sown among the men
plays out in the film’s dour coda, which directly questions the
efficacy of not only this quest but any mythic journey to counter a
foe like the Black Death that cannot be slain with swords or sorcery.
- <b>Jake Cole</b></div>
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</div>
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<a href="https://www.slantmagazine.com/dvd/the-navigator-a-medieval-odyssey/">https://www.slantmagazine.com/dvd/the-navigator-a-medieval-odyssey/</a></div>
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<br /></div>
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Vincent Ward's first two films are strikingly original and
atmospheric, and this is the more straightforward of the two (despite
a story-changing denouement).
</div>
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</div>
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The Navigator (an
antipodean co-production which won Best Film at the 1988 AFIs)
provides a rousing showcase of Vincent Ward's capabilities.
Noticeable in Ward's work is a curious trend of complexly evolving
relationships with father figures, his work ever brought vividly to
cinematic life through differing perception. The most stunning
passage of the film is the escapist, doomsday-defying quest through
modern-day New Zealand in search of a vision, the film reaching a
giddy high of overlapping, fish-out-of-water reality.
</div>
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</div>
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The Navigator
represents one of the finest displays of how to make a film fun and
adventurous, as well as haunting and timely. An encounter with a
submarine here demands to be seen. The subtextual spectre of 80s AIDS
simmers throughout, including a glimpse of the iconic grim reaper
commercial down under. This desperate plight, at the brink of
apocalypse (whether black death, AIDS or nuclear holocaust), recalls
the spiritual yearning of Bergman and Tarkovsky.</div>
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</div>
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The Navigator, like
Ward's other films, is not for everyone, but it does benefit from
being one of his more disciplined (one of those directors who
flourishes best under confined budgets, loses direction and form when
the limit heads skyward). Like with Vigil, if this often brilliant
work does connect with you, you'll revel in one of his more
mesmerising works. -<b> Ruth Scouller
</b></div>
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</div>
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<a href="https://letterboxd.com/film/the-navigator-a-medieval-odyssey/">https://letterboxd.com/film/the-navigator-a-medieval-odyssey/</a></div>
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A great little
parable that has a killer central premise - 14th century Englishmen,
desperate to escape the onslaught of the Black Death tunnel their way
through the world and emerge in modern day New Zealand - shot through
with Vincent Ward's unique eye.</div>
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</div>
<div style="line-height: 100%; margin-bottom: 0cm;">
The premise is given
credence with a decent set up - an offering needs to be made to god,
but all villages around the travellers own are infected so there is
nowhere else to go but down, fuelled by the clear and stark visions
of a young boy. And these scenes are given a real 'Hard to be a God'
flavour by being shot in high contrast, stark black and white, giving
the whole thing a horribly realistic, grim and gritty texture to it.</div>
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</div>
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Once the adventurers
get to NZ, the film switches to bold colour, emphasising the duality
of the two eras. There is no fish out of water hilarity here - no Les
Visituers style comedy capers thank fuck, however the 'realism' of
the opening narrative gives way to something else, something much
more 'fable-like' which is not apparent until the films final act:
some may be disappointed by some huge narrative leaps here, but stick
with it as these come into stark focus come the films conclusion.</div>
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</div>
<div style="line-height: 100%; margin-bottom: 0cm;">
There is much that
can be read into the film - musing on the place of religion in the
modern world, the relative ease of modern life that comes at a
spiritual cost, etc - but it can also be enjoyed as a simple fable.
Its very well put together - no huge visual effects are needed, so it
looks very tactile and real - and its acted very well by all,
although here is where my biggest criticism comes in: the actors
playing the medieval group have accents that are not only all over
the place, but are so thick a lot of initial dialogue is difficult to
understand. Its not a deal breaker not by any means, but it does mean
that those early scenes are harder work than they should be, seeing
possible authenticity get in the way of cinematic story telling.</div>
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</div>
<div style="line-height: 100%; margin-bottom: 0cm;">
But that's a minor
gripe - this is a very different type of film, one that's well worth
seeking out and yet again, ruing the potential of Ward's
could-have-been-amazing Alien 3. - <b>Mark Costello
</b></div>
<div style="line-height: 100%; margin-bottom: 0cm;">
</div>
<div style="line-height: 100%; margin-bottom: 0cm;">
<a href="https://letterboxd.com/film/the-navigator-a-medieval-odyssey/">https://letterboxd.com/film/the-navigator-a-medieval-odyssey/</a></div>
</div>
zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-24972250224732733492019-11-21T07:35:00.002-08:002020-10-19T05:15:36.439-07:00Jon Rafman - Dream Journal (2016-2017)<div dir="ltr" style="text-align: left;" trbidi="on">
<a data-cthref="/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DeOBeI_vADSE&psig=AOvVaw1OnY3PAHDMoE2kbg0sOhO3&ust=1574432841078616" href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&ved=&url=https%3A%2F%2Fwww.youtube.com%2Fwatch%3Fv%3DeOBeI_vADSE&psig=AOvVaw1OnY3PAHDMoE2kbg0sOhO3&ust=1574432841078616" id="irc_mil" jsaction="mousedown:irc.rl;focus:irc.rl;irc.il;" style="border-image: none; border: 0px;" target="_blank"><img alt="Slikovni rezultat za Jon Rafman - Dream Journal" height="360" id="irc_mi" src="https://i.ytimg.com/vi/eOBeI_vADSE/maxresdefault.jpg" style="margin-bottom: 0px; margin-top: 0px;" width="640" /></a><br /><br /><a href="http://jonrafman.com/">http://jonrafman.com/</a><br />
<br />excerpt <a href="https://vimeo.com/jonrafman/review/179476655/1552a7d383">on vimeo</a>
<br />
<br /><br />
<strong><span style="font-size: large;">Kad se jednom stopimo sa zlom Umjetnom Inteligencijom živjet ćemo vječno, neće nam dati da umremo, a stalne noćne more bit će naše jedino iskustvo.</span></strong> <br />
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<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/8cd0Dt94-MA" width="560"></iframe>
<iframe allow="accelerometer; autoplay; encrypted-media; gyroscope; picture-in-picture" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/uJtuKdfdL3c" width="560"></iframe>
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You, The world and I:
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<span style="font-size: small;">Play // Dream Journal: An Interview with Jon Rafman</span></h1>
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Article by <strong>Penny Rafferty</strong> in Berlin // Friday, Oct. 06, 2017<br />
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Shag carpet fills one room at <b>Sprüth Magers</b> in Berlin, and eight ambiguous, lounging foam figures recline in the darkness. Waiting for your own body to slip into them, or perhaps plug into them, they vibrate to every action on screen, sending a shiver up your spine that could almost be comforting. This elaborate set is the viewing station for <b>Jon Rafman</b>’s new work ‘Dream Journal ’16-’17’, an hour-long CG animated film, which is scored by the famously captivating musicians <b>Oneohtrix Point Never</b> and <b>James Ferraro</b>. The video explores nearly every terrain Rafman’s visual landscapes have allowed us to visit over the years, including computer games like ‘the Sims’ and ‘Street Fighter’ and childhood cult classics like ‘The Goonies’ or ‘Alice in Wonderland’, albeit in a strange, rough computer-generated imagery that is doused with sexual motifs, abstract blood splatters and comic couture allegories. Rafman grounds all this chaos in heroic figures like Joan of Arc, white-turbaned freedom fighters, cute hip amputees and anarcho-feminist insurgents. Rafman has the ability to lead every viewer into a world of play via his screened oracles, having often been dubbed the godfather of post-internet. He constructs the dreams and nightmares you have heard of, seen and will likely encounter in the future. Berlin Art Link caught up with Rafman before his opening to talk play, games, LARP and his never-ending schematics of reality.<br />
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<img alt="berlinartlink-play-jonrafman" aria-describedby="caption-attachment-103915" class="size-full wp-image-103915" height="426" sizes="(max-width: 800px) 100vw, 800px" src="http://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-JRA_Install_Dream_Journal_2016_2017_SMB_2017_Photo_Timo_Ohler_04_gm.jpg" srcset="https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-JRA_Install_Dream_Journal_2016_2017_SMB_2017_Photo_Timo_Ohler_04_gm.jpg 800w, https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-JRA_Install_Dream_Journal_2016_2017_SMB_2017_Photo_Timo_Ohler_04_gm-590x393.jpg 590w, https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-JRA_Install_Dream_Journal_2016_2017_SMB_2017_Photo_Timo_Ohler_04_gm-768x512.jpg 768w" width="640" /><br />
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Jon Rafman, ‘Dream Journal 2016-2017’, Installation view, Sprüth Magers, Berlin, 2017 // Photo: Timo Ohler, Courtesy of the artist and Sprüth Magers</div>
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<b>Penny Rafferty: I have always wondered if you have a gaming history or if you just stalk the net?</b><br />
<b>Jon Rafman</b>: There’s some history. I was one of the top Yoshi’s in the tri-state area during the Mario Kart 64 days. And I did get back into gaming while conducting research for my film ‘Codes of Honor’, but I have to say that was in a more documentarian role. Throughout that time I went to Chinatown Fair arcade in NYC almost every day for months and months, I spent hours interviewing pro-gamers about the good old times.<br />
<b>PR: Seductive nostalgia?</b><br />
<b>JR</b>: Yeah, I’m attracted to this particular obsession and dedication that gamers have, as well as the extremely ephemeral histories that gaming communities have built up. I can see both the Sisyphean quality and the tragic beauty they inhabit. Gamers attempt to master something that is always becoming obsolete. For me, this is an apt metaphor for the accelerated age we now live in.<br />
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<img alt="berlinartlink-play-jonrafman" aria-describedby="caption-attachment-103916" class="size-full wp-image-103916" height="360" sizes="(max-width: 800px) 100vw, 800px" src="http://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-jonrafman-DREAM_JOURNAL_8_HIGH_RES_2017.jpg" srcset="https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-jonrafman-DREAM_JOURNAL_8_HIGH_RES_2017.jpg 800w, https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-jonrafman-DREAM_JOURNAL_8_HIGH_RES_2017-590x332.jpg 590w, https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-jonrafman-DREAM_JOURNAL_8_HIGH_RES_2017-768x432.jpg 768w" width="640" /><br />
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Jon Rafman: ‘Dream Journal 2016-2017’, Video Still // Courtesy of the artist and Sprüth Magers</div>
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<b>PR: It’s funny you mention the age we live in, I’m always finding moments of déja vu in your work. I find myself questioning my internal mind’s eye. Did I hear/see that before or some remix of that image, clip, sound. Your work is ultimately impersonal, due to its nature. Of want for a better word, fishing (pulling images via the internet) hence personal to all with its chopped, glitched narratives. We have almost seen it all before.</b><br />
<b>JR</b>: Well, the way we see the world is deeply affected by the media we consume, especially early on in life. My process really varies from project to project, but as a practice it usually begins with the “stalking” you mentioned before. I have enormous treasure troves of found material. Often there is either a central image, mood, or memory that is the guiding force that I’ll build the work around. And a lot of times that sense of déja vu, or a sense of the uncanny, is condensed into that particular image/narrative and I build onto that.<br />
<b>PR: So does that make you the protagonist, the anthropologist, or the director?</b><br />
<b>JR</b>: I’d say I’m the director first. I have definitely been a protagonist in some early video works, usually in the form of an exaggerated obsessive version of a certain ideal. And yes, sometimes I take on the role of a very amateur anthropologist.<br />
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<img alt="berlinartlink-play-jonrafman" aria-describedby="caption-attachment-103917" class="size-full wp-image-103917" height="640" sizes="(max-width: 800px) 100vw, 800px" src="http://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-jonrafman-installationview.jpg" srcset="https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-jonrafman-installationview.jpg 800w, https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-jonrafman-installationview-590x884.jpg 590w, https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-jonrafman-installationview-768x1151.jpg 768w" width="427" /><br />
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Jon Rafman: ‘Transdimensional Serpent’, 2016<br />
Virtual Reality video installation, developed with Samuel Walker<br />
Installation view Frieze London 2016 // Photo: Damian Griffiths, Courtesy of the artist and Seventeen, London</div>
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<b>PR: You’re about to participate in the ‘Play Co Summit’, that Ed Fornieles and I are organising in London. I think Role Play is drawing in a lot of people in the arts who work in a cross disciplinary manner. What drew you to RPG, LARP and bleed (life and play crossover)?</b><br />
<b>JR</b>: I’ve always been fascinated by Live Action Role Playing, which comes out of my love of fantasy, sci-fi, virtual worlds and gaming. Today it feels more relevant than ever: life itself has begun to feel more and more like a performance and so LARPing feels increasingly poignant as a way to reflect reality.<br />
<b>PR: ‘Sticky Drama’ is one work that stood out to me, as far as seeing bleed being explored explicitly with on and offline imaginariums in your work, and also its ability to explore notions of collective, cross-generational imaginations was really refreshing, </b> <br />
<b>JR</b>: All my work deals with those themes to some degree. The reason ‘Sticky Drama’ probably stands out so much is it was the first time that I worked in live action film and attempted to create my own virtual world in the flesh. Throughout my practice, I have tried to create different poetic universes, each with their own internal logic. In the case of ‘Sticky Drama’, Lopatin and I were pulling from everything from LARP culture to 80s and 90s body horror, to kid adventure films.<br />
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<img alt="berlinartlink-play-jonrafman" aria-describedby="caption-attachment-103918" class="size-full wp-image-103918" height="360" sizes="(max-width: 800px) 100vw, 800px" src="http://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-jonrafman-Sticky-Drama-filmstill.jpg" srcset="https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-jonrafman-Sticky-Drama-filmstill.jpg 800w, https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-jonrafman-Sticky-Drama-filmstill-590x332.jpg 590w, https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-jonrafman-Sticky-Drama-filmstill-768x432.jpg 768w" width="640" /><br />
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Jon Rafman and Daniel Lopatin: ‘Sticky Drama’, Film Still, 2015, Seventeen, London // Courtesy of the artists, Seventeen, London and the Zabludowicz Collection, London</div>
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<b>PR: That makes sense especially as I see the death drive so fervently in that piece: the death drive becomes a sort of euphoria in the film, like the end of the game is the high you yearn for as a player and director. In the film the chords of Oneohtrix Point Never slash through the walls of this cd-clad-micro blonde girl’s bedroom, it screams 90s revival but in the same way total euphoria, like hearing the happy hardcore beats of ‘Fly on the Wings of Love’ or ‘Better Off Alone’ does. The walls start to drip with slime, the protagonist spins and swirls in ecstasy of her/our impending doom or salvation. End game your ultimate love?</b><br />
<b>JR</b>: If you look at things from a certain distance the desire to save yourself and to destroy yourself start to merge into one another. I believe the only way to achieve liberation is to understand the nature of our entrapment.<br />
<b>PR: Hence why you often address the traditional role of the inactive viewer, instead providing immersive viewing scenarios such as ‘Still Life – Beta Male’, which allows the voyeur to sit in a ball pool of pearls to comfortably float as the found-imagery plays out; or slip into the soft, waist-clinching seats of ‘Mainsqueeze’. Is this about the gaze, or concentration, or a tactile suggestion to watch?</b><br />
<b>JR</b>: All of the above. I try to create a formal, sculptural or architectural dialogue between the themes and content of the video, and how they are physically experienced.<br />
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<img alt="berlinartlink-play-jonrafman" aria-describedby="caption-attachment-103919" class="size-full wp-image-103919" height="600" sizes="(max-width: 800px) 100vw, 800px" src="http://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-009SM-JON-RAFMAN-06-2016-PHGJvanROOIJ.jpg" srcset="https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-009SM-JON-RAFMAN-06-2016-PHGJvanROOIJ.jpg 800w, https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-009SM-JON-RAFMAN-06-2016-PHGJvanROOIJ-590x443.jpg 590w, https://www.berlinartlink.com/wp-content/uploads/2017/10/berlinartlink-009SM-JON-RAFMAN-06-2016-PHGJvanROOIJ-768x576.jpg 768w" width="800" /><br />
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Jon Rafman: ‘Still Life (Betamale)’, 2015, Installation view of Jon Rafman, Stedelijk Museum, Amsterdam 2016 // Photo: GJ van Rooij, Courtesy of the artist</div>
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<b>PR: Is your work was alluding to the past or the future or a timelessness?</b><br />
<b>JR</b>: It’s about the present, which contains both past and future. Just as each new age requires a new confession, each era’s vision of the future reveals something about that particular present. In the recent modern past, Utopian visions of the future were prevalent and many were replaced by postmodern dystopian visions. I’m definitely curious what will come next, how our vision of the future will transform again.<br />
<b>PR: Will you make a wild guess?</b><br />
<b>JR</b>: We will all be uploaded into an evil AI, tortured for all eternity, and never allowed to die. In this sense humanity will have finally achieved immortality, but it is a lot less fun than expected because we will all be endlessly suffering voiceless avatars.</div>
</section><a href="https://www.berlinartlink.com/2017/10/06/play-dream-journal-an-interview-with-jon-rafman/">https://www.berlinartlink.com/2017/10/06/play-dream-journal-an-interview-with-jon-rafman/</a><br />
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<strong>‘Anxiety of Mutations’ Jon Rafman’s Dream Journal at Venice Biennale by Piotr Bockowski</strong><br />
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<img alt="Jon-Rafman-Dream-Journal" class="wp-image-21023" height="359" sizes="(max-width: 950px) 100vw, 950px" src="https://www.clotmag.com/wp-content/uploads/2019/10/Jon-Rafman-Dream-Journal.jpg" srcset="https://www.clotmag.com/wp-content/uploads/2019/10/Jon-Rafman-Dream-Journal.jpg 950w, https://www.clotmag.com/wp-content/uploads/2019/10/Jon-Rafman-Dream-Journal-300x170.jpg 300w, https://www.clotmag.com/wp-content/uploads/2019/10/Jon-Rafman-Dream-Journal-768x432.jpg 768w, https://www.clotmag.com/wp-content/uploads/2019/10/Jon-Rafman-Dream-Journal-196x111.jpg 196w, https://www.clotmag.com/wp-content/uploads/2019/10/Jon-Rafman-Dream-Journal-218x124.jpg 218w, https://www.clotmag.com/wp-content/uploads/2019/10/Jon-Rafman-Dream-Journal-304x172.jpg 304w, https://www.clotmag.com/wp-content/uploads/2019/10/Jon-Rafman-Dream-Journal-338x191.jpg 338w, https://www.clotmag.com/wp-content/uploads/2019/10/Jon-Rafman-Dream-Journal-460x260.jpg 460w" width="640" /></div>
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<figure class="aligncenter"><figcaption> <em>Dream Journal</em>, Jon Rafman, Venice Biennale (2019) </figcaption></figure></div>
A mytho-digital journey has been conceived by <strong>Jon Rafman</strong> in which the most severe anxieties of the 21st century techno-society melt into an obnoxious 3D-animated atrocity exhibition. Here, CGI (computer-generated imagery) particularly performs as a form of indulgence in excessive transfigurations of mutant bodies. The post-industrial landscape of a deserted planet is presented to us inhabited by the progeny of disrupted monstrous wildlife and its synthetic architectural complexes. They serve as venues for obscure future-primitive cults or electro-toxic dance clubs entertaining the death fights of bizarre biotech creatures. This is the nightmarish Dream Journal of Rafman that breeds Xanax girl through mutant data-farming techniques employed by the labyrinthine school for her clones. “We are just the copies of copies,” they say again in a creepy deja vu.<br /><br />
The <strong>2019 Venice Biennale presents Rafman’s 3 years of exploration into the 3D simulated environments</strong> (2016-2019) that form the feature film <em>Dream Journal</em> (94 minutes). Here Rafman radically experiments with imaginary worlds populated by the <strong>obscene diversity of biotech mutants</strong>. CGI reveals the dark vitality of techno-materialism that moulds post-human forms with chimeric beasts, monstrous insects and Japanese sexual perversions. BDSM Tokyo schoolgirls eaten out by giant snails cry sperm-milk from Janus faces growing inside their anuses. Their topsy-turvy bodies twist and collapse in an anti-dance of digital butoh and virtual shibari of phantom vectors. They date retarded half-hedgehog half-walrus boys who fight against each other in cage death-wrestling tournaments staged inside dubious techno clubs of tropical spacecraft decor. Xanax girl is sentimentally attracted to one (or two) of them. As she descends on a journey filled with platform computer games like booby traps and post-apocalyptic military bars, she allows for frequent penetrations of medical apparatuses, only to give away her body to techno-shamanist occult rites that disintegrate and transfigure her corporeality further still.<br /><br />
All the spaces and realms of <em>Dream Journal </em>seem to be connected with processes of mutant transfigurations that challenge the human form over & over. The database institution that extracts Xanax girl from amongst the forms of her clones also links distant events through networks of canalizations. <strong>Digital excrements become the most fertile media for mutant communications</strong>. The shit-hole orifices make sex with various enslaved bodies and feed on their inner organs. In effect, the produce of digi-excremental canal digestion is eventually served as pet food to giant caterpillars that swell and multiply into new energy sources.<br /><br />
Yet, in the midst of Rafman’s accelerating bizzare neo-savagery, he invites moments of gentle sadness. The absurdity of obscene mutations sporadically suspends the characters of <em>Dream Journals</em> in moments of nostalgic stupor. Out of a sudden, the computer game-like actions are interrupted when characters have to disintegrate or remain confined to particular local territories. They surprise us with expressions of disappointment and longing towards what could be described by the Japanese term <em>mono no aware</em> – the subtle contemplation of the transience of things. Those expressions are actually far from dominating the general mood of the narrative but nevertheless, they allow the real anxiety of lived experience to creep into worlds of macabre, detached and fantastical exaggerations. This unexpected and maybe even unwantedly grotesque closeness to unrealistic dreamy whims of biotech visions, imposed on us through sorrow, give the audience a vivid sense of their mediated bodies as processes in the making of unhuman materialities.<br /><br />
<figure class="wp-block-image"><img alt="" class="wp-image-21027" sizes="(max-width: 850px) 100vw, 850px" src="https://www.clotmag.com/wp-content/uploads/2019/10/image-courtesy-Venice-Biennalelow.jpg" srcset="https://www.clotmag.com/wp-content/uploads/2019/10/image-courtesy-Venice-Biennalelow.jpg 850w, https://www.clotmag.com/wp-content/uploads/2019/10/image-courtesy-Venice-Biennalelow-300x176.jpg 300w, https://www.clotmag.com/wp-content/uploads/2019/10/image-courtesy-Venice-Biennalelow-768x452.jpg 768w" /><figcaption> Dream Journal, Jon Rafman, Venice Biennale 2019 </figcaption></figure><br />Why do all these mutant bodies populate Rafman’s computer screen out of a sudden? Seemingly, there is a certain realization behind <em>Dream Journal</em> that diagnoses digital media as increasingly and obscenely mutagenic. Strange it may appear since the year 2019 has witnessed a wave of censorship of major Internet platforms. Tumblr introduced their ‘safe & trust’ policies of removing pornographic and gore content, Vimeo started deleting many long-living profiles after accusing them of ‘activity primarily focused on sexual stimulation’ and Facebook increased cases of blocking computer-selected profiles in the name of digital ‘family values’. All those vague ethical algorithmic systems, many times short-circuit confused, nevertheless insistently express circular obsessions with human sexuality. <br />
They aim at the suppression of raw drive and desire that may appear aggressive. Standing for controlled concepts of communities, mainstream media policies effectively erase the imagery related to human body reproduction – the infamous nipples, shameful genitals or even more abstract body presentations that happen to involve moist or tense expressions, perhaps suggesting the possibility of secreting glands within hidden orifices. Those policies of familiar communities become somehow uncanny as the meditated families insistently disconnect themselves from technicalities of sexual reproduction. As a reaction, the generative systems of contemporary Internet populations project digital mutant replicants without nipples nor genitals, welcoming monstrous deformities as long as they escape human biology features.<br /><br />
Rafman exposes the fetishistic spillage of repressed desire online, tapping into almost half-century-old Japanese <strong>hentai</strong> strategies of eluding censorship, which can be considered symptomatic for Internet aesthetics now. Since the 1970s <strong>Ero Guro movement in Tokyo, </strong>hentai answered to state prohibitions of portraying human genital intercourses by creating fertile subspecies of tentacle monsters that twist around no-longer human bodies and penetrate their dislocated orifices gaping in-between feverishly multiplying mamillae. Rafman created several side characters directly referencing abused by demons girls of Toshio Saeki and perfidiously manoeuvred the protagonist Xanax girl into bizarre interactions with rapey creatures of hybrid features, merging insectoid bodies with warty overgrowth or mollusc like pseudopods inspired by Horihone Saizuo. Eroticism becomes transfigured here into the primal relation of external digestion. Inside out guts performing pornographic figurations transgress the sphere of human sexuality and pull us into the desperate technological cannibalism of incestuous mutants. Asked in an online interview about his trans-species art of invasive eroticism involving sluggish soft bodies invasions into dehumanized squid women, Daikichi Amano described his desire as “a cockroach that had head and the body separated with the surprise and scary when having begun to run with the head and the body in separate directions.” The broken grammar of this Engrish quotation exposes hybrid nature of fragmented digital bodies in their hypermediated overexpressions. In the same vein, viral social media body performers like Aun Helden use their image manipulation art to castrate sex or ‘anything that presents them as men’, at the same time multiplying what’s considered to be anatomical anomalies. Instead, harmonizing with human forms their corporeal members bulge with black eggs that initiate no-longer-human replication. The shiny surface of the eggs reflects the mutagenic void of computer screens.<br /><br />
Ongoing project <em><strong>Dream Journal</strong></em> presents a feature-film length epic that <strong>reworks the traumas of the human body entering the Internet era media mutations</strong>. 3D-rendered are the monstrosities bred from the very desires projected by a culture of digital technologies. The plots fork into paranoid networks by pulling the viewer through severely methodic Role Playing Games of creaturely alienations. Jon Rafman made an extraordinary effort to collect spilt phantom limbs and chimerical flesh from all over the deep dark underbelly of the Internet. They are melted into a mythological journey of a near present that our addiction to technological stimuli eagerly evokes.</div>
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<a href="https://www.clotmag.com/oped/anxiety-of-mutations-jon-radmans-dream-journal-at-venice-biennale-by-piotr-bockowski">https://www.clotmag.com/oped/anxiety-of-mutations-jon-radmans-dream-journal-at-venice-biennale-by-piotr-bockowski</a><br />
<br /><br />
<a href="http://jonrafman.com/legendaryreality/"><span style="color: black;">Legendary Reality, 2017</span></a><br />
<a href="http://jonrafman.com/poormagic/"><span style="color: black;">Poor Magic, 2017</span></a><br />
<a href="https://vimeo.com/jonrafman/review/179476655/1552a7d383"><span style="color: black;">Dream Journal, 2015 - 2016</span></a><br />
<a href="http://www.ubu.com/film/rafman_erysichthon.html"><span style="color: black;">Erysichthon, 2015</span></a><br />
<a href="http://jonrafman.com/stickydrama/"><span style="color: black;">Sticky Drama, 2015</span></a><br />
<a href="https://vimeo.com/jonrafman/review/158415257/2be736c388"><span style="color: black;">Neon Parallel 1996, 2015</span></a><br />
<a href="https://vimeo.com/jonrafman/review/100324610/3e511de46c"><span style="color: black;">Mainsqueeze, 2014</span></a><br />
<a href="http://jonrafman.com/betamale"><span style="color: black;">Still Life (Betamale), 2013</span></a></div><div dir="ltr" style="text-align: left;" trbidi="on"><a href="http://www.ubu.com/film/rafman_digging.html"><span style="color: black;">A Man Digging, 2013</span></a><br /></div><div dir="ltr" style="text-align: left;" trbidi="on">
<a href="http://9-eyes.com/"><span style="color: black;">9-Eyes, ongoing</span></a><br />
<a href="http://remembercarthage.com/"><span style="color: black;">Remember Carthage, 2013</span></a><br />
<a href="http://theheadquarters.org/Ionline.htm"><span style="color: black;">Brand New Paint Job, 2013</span></a><br />
<a href="http://codesofhonor.com/"><span style="color: black;">Codes of Honor, 2011</span></a><br />
<a href="http://koolaidmaninsecondlife.com/" target="_self"><span style="color: black;">Kool-Aid Man in Second Life, 2008-2011 </span></a><br />
<a href="http://youtheworldandi.com/" target="_self"><span style="color: black;">You, the World and I, 2010</span></a><br />
<a href="http://woodsofarcady.com/" target="_self"><span style="color: black;">Woods of Arcady, 2010</span></a><br />
<a href="http://paintfx.biz/" target="_self"><span style="color: black;">PaintFX, 2009</span></a><br />
<a href="http://jonrafman.com/archive.html" target="_self"><span style="color: black;">archive</span></a><br />
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<em>some texts</em><br />
<a href="http://jonrafman.com/2016_JR_CURA.pdf/"><span style="color: black;">The Refracting Eye On Jon Rafman by Bret Schneider, CURA, 2016 (pdf)</span></a><br />
<a href="http://www.vdrome.org/jon-rafman-and-daniel-lopatin-sticky-drama/"><span style="color: black;">Interview with Michael Nardone, Vdrome, 2016</span></a><br />
<a href="http://jonrafman.com/KevinMcgarry_ZabCatalogueIntro.pdf"><span style="color: black;">Introduction to catalog by Kevin McGarry, 2016 (pdf)</span></a><br />
<a href="http://www.jonrafman.com/Frieze_Jan2016pp92-97.pdf"><span style="color: black;">Infinite Lives: The online Anthropology of Jon Rafman by Gary Zhexi Zhang, Frieze, 2016 (pdf)</span></a><br />
<a href="http://momus.ca/this-is-where-it-ends-the-denouement-of-post-internet-art-in-jon-rafmans-deep-web/"><span style="color: black;">This Is Where It Ends: The Denouement of Post-Internet Art in Jon Rafman’s Deep Web by Saelan Twerdy, Momus, 2015</span></a><br />
<a href="http://artforum.com/words/id=47380"><span style="color: black;">Artforum 500 words, 2014</span></a><br />
<a href="http://jonrafman.com/PU_JonRafman.pdf"><span style="color: black;">Interview with Pin-Up, 2013</span></a><br />
<a href="http://6thfloor.blogs.nytimes.com/2013/12/16/poaching-memories-from-googles-wandering-eye/?_r=0"><span style="color: black;">Interview with New York Times Mag, 2013</span></a><br />
<a href="http://www.frieze.com/issue/review/jon-rafman/"><span style="color: black;">Frieze Review of A Man Digging by Galit Mana, 2013</span></a><br />
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<a href="http://www.newmuseum.org/exhibitions/view/jon-rafman-and-rosa-aiello-remember-carthage"><span style="color: black;">Lauren Cornell on Remember Carthage, 2013</span></a><br />
<a href="http://thecreatorsproject.vice.com/blog/documenting-the-vegas-of-the-maghreb-through-virtual-environments-qa-with-jon-rafman-and-rosa-aiello"><span style="color: black;">Interview with Creator's Project, 2013</span></a><br />
<a href="http://kaleidoscopeoffice.wordpress.com/2011/11/14/jon-rafman-interviewed-by-aids-3d/"><span style="color: black;">Interview with Aids-3D (Dan Keller & Nik Kosmas), Kaleidoscope, 2011</span></a><br />
<a href="http://rhizome.org/editorial/2011/aug/17/codes-honor/"><span style="color: black;">Rhizome: Codes of Honor, 2011</span></a><br />
<a href="http://jonrafman.com/QuarantaOnRafman.pdf"><span style="color: black;">'Brand New Paint Job' catalog by Domenico Quaranta, 2011 (pdf)</span></a><br />
<a href="http://jonrafman.com/Rafman_Lodown.pdf"><span style="color: black;">Interview with Lodown Magazine, 2010 (pdf)</span></a><br />
<a href="http://bombsite.com/issues/1000/articles/4650"><span style="color: black;">Interview with Lindsay Howard, Bomb Magazine, 2010</span></a><br />
<a href="http://www.artfagcity.com/2009/08/12/img-mgmt-the-nine-eyes-of-google-street-view/" target="_blank"><span style="color: black;">'IMG MGMT - The Nine Eyes of Google Street View' essay, 2009</span></a><br />
<a href="http://googlestreetviews.com/16GoogleStreetViews.pdf"><span style="color: black;">16 Google Street Views booklet, 2009 (pdf)</span></a></div>
zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com1tag:blogger.com,1999:blog-9090164656735666067.post-77495651572072819082019-11-14T07:53:00.000-08:002019-11-14T07:53:39.754-08:00Rita Azevedo Gomes - A Portuguesa (2018)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span style="font-size: large;"><strong>Dok Ameri ekraniziraju Stephena Kinga, Portugalci ekraniziraju</strong> </span><strong><span style="font-size: large;">Barbey d’Aurevillyja, Zweiga, čak i Roberta Musila. Likovi "filozofiraju" o umjetničkim djelima, književnosti, mistici. I sve je to, naravno, uzaludno.</span></strong><br />
<strong><span style="font-size: large;">Užitak u tome da su karte davno podijeljene. Kostimirani mauzolej kao utopijski nihilizam.</span> </strong><br />
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A Woman's Revenge (2012) <br />
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Roberto is one of those men to whom simulation has become the greatest art. He is an unmoved, inscrutable, mysterious man. But the truth is that Robert feels an intimate, deep tedium. The boredom of those who have already exhausted all the pleasures of life. The only thing still surprising him is the fact that nothing surprises him anymore. One evening he has an overwhelming encounter with a woman. For his own bewilderment, he discovers the sublime horrors in which the woman has sank.<br />
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The Portuguese Woman (A Portuguesa) (2018)<br />
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North of Italy, the von Ketten dispute the forces of the Episcopate of Trent. Herr Ketten seeks marriage in a distant country, Portugal. After their honeymoon journey back home, Ketten leaves again for the war. Eleven years elapsed… Rumours are running about the presence of that ‘foreign’ in the castle. Some say she’s a heretic. Until one day, the Bishop of Trento ends up dying and, with the signature of peace, falls the background of von Ketten’s life. Will the Portuguese win, where death seems to be moving in? <br />
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Correspondências (2016) <br />
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Jorge de Sena was forced to leave his country. First he moved to Brazil, and later to the USA. He never returned to Portugal. During his 20-year-long exile, he kept an epistolary correspondence with Sophia de Mello Breyner Andresen. These letters are a testimony of the profound friendship between the two poets, letters of longing and of desire to “fill years of distance with hours of conversation”. Through excerpts and verses, a dialog is established, revealing their divergent opinions but mostly their strong bond, and their efforts to preserve it until their last breaths.<br />
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Frágil Como o Mundo (2001)<br />
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An impossible love. Two young people who love each other. Vera and Juan can’t find in this life the space, time, or identity to resolve their love story.<br />
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<strong><span style="font-size: large;">Rita Azevedo Gomes: The Correspondences of Beauty</span></strong><br />
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“It doesn’t really matter where things come from. What matters is picking things up again, mess them up, try to push them forward in a different way. All of us do it, we’ve all been doing it all through time, and things haven’t really changed that much since Greece. What we can try is to do something that seems to be new, or that is shown in a whole different way—even if not necessarily intentionally.”</div>
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In a way, that’s what Rita Azevedo Gomes has been doing through her career as a filmmaker. A career, avowedly, somewhat confidential—her latest fiction,<i> The Portuguese Woman,</i> is only her 9th film since her 1990 debut <i>O Som da Terra a Tremer—</i>but one that has been quietly snowballing since 2012’s <i>The Revenge of a Woman, </i>to her own surprise, became a firm festival favorite. </div>
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Her 2016 poetic documentary essay <i>Correspondences </i>gained a main competition berth in Locarno. And, after premiering at Mar del Plata 2018, <i>The Portuguese Woman</i> was much acclaimed in the Berlinale Forum. Azevedo Gomes has also just premiered a new work in FIDMarseille’s official competition: <i>Danses macabres, squelettes et autres fantaisies</i>, a collaboration with filmmaker Pierre Léon and theorist Jean-Louis Schefer. </div>
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The collaborative nature of <i>Danses macabres… </i>is only the latest link in a chain of connections that at some point becomes a true rabbit’s den. Based on a 1924 novella by Austrian writer Robert Musil set in the Middle Ages, <i>The Portuguese Woman</i> was adapted for the screen by the legendary Portuguese novelist Agustina Bessa-Luís, a close collaborator of Manoel de Oliveira and someone whose writing inspired many of the late master’s finest works, like <i>Francisca</i> (1981) and<i> Abraham’s Valley</i> (1993).Bessa-Luís and Azevedo Gomes had already worked together in the 2005 short<i> A Conquista de Faro</i>, produced by another late Portuguese master, Paulo Rocha. </div>
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These are only two of the many “correspondences” you can make between Azevedo Gomes and key names in Portuguese art cinema. Another stems from her “day job” as programmer and art director for the Portuguese Cinemathèque, where she was a close accomplice of João Bénard da Costa, the critic and programmer that ran the institution from 1991 to 2008 and influenced generations of Portuguese cinephiles. In 2007, Azevedo Gomes shot <i>A 15ª Pedra</i>, the record of a two-hour encounter between Bénard da Costa and Oliveira, and a film she described, smiling, as a “personal confessional”: “I wanted to catch those two beings that were so important for my life together, on film, as I saw them in real life.” Bénard da Costa—under his acting <i>nom de plume </i>Duarte d’Almeida—also acted in films by both directors; it’s no surprise that Oliveira often props up when discussing Azevedo Gomes’ output. </div>
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Yet make no mistake: the filmmaker refuses all sorts of comparisons and prefers to see herself in a very specific lineage of filmmakers, both canonical and non-canonical. “I’m very honored to be compared to Manoel, but that would make me freeze,” as she said in Berlin, last February, while presenting <i>The Portuguese Woman</i>. “I’m also a lover of Ingmar Bergman, and, if I was Swedish, people would say I’m a disciple of Bergman… Yet I’m as much a disciple of Bergman as I am of Oliveira, of Carl Theodor Dreyer, of Werner Schroeter… and also of Titian or Caravaggio. All of them are present, but none of them are in my head when I’m shooting.” </div>
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Too many influences, she thinks, end up “poisoning the well”: “Every time I try to do something <i>in the manner of </i>someone else, Bergman for instance, it always turns out crap. And it’s terrible because that ruins you; it means that, obviously, I’ll never be able to make it like he did it. I don’t like the feeling, when I’m making a film, of suddenly remembering how somebody else did something, because I’ll never be able to reproduce it.” </div>
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<span class="caption caption-caption"><i>A Woman's Revenge</i></span></div>
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Instead, Azevedo Gomes prefers to add something personal to those tropes—if you look at her filmography, you will find a peculiar desire for experimenting. <i>Correspondences</i>, for instance, is nominally an essay about the correspondence between two of Portugal’s greatest 20th century poets, Sophia de Mello Breyner Andresen and Jorge de Sena. But instead of doing a traditional documentary, Azevedo Gomes placed actors (regulars like Rita Durão, Luís Miguel Cintra, or Francisco Nascimento) and non-actors (including programmer and critic Boris Nelepo or writer and filmmaker Pierre Léon), reading from the poets’ letters in living rooms, kitchens, patios, even seashore caves, and using period footage to fill in historical blanks. The result is a series of <i>tableaux </i>that can seem carefully composed, but were actually shot “on the fly”—the film was built piecemeal from takes shot with friends and acquaintances over a number of years, like a series of personal home movie reminiscences assembled into a cohesive, heterogeneous whole. </div>
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Azevedo Gomes assumes that experimentation. “I love challenges, I love to experiment, to find out how you do something, to try new things. That’s something I’m always willing to do. Even in a film like <i>The Revenge of a Woman</i>, which had a very rooted starting point, with a lot of text, it worked as a foundation, a source over which I could experiment with something different: making a scene with a lot of cuts in a place in a film constructed mostly of long one-take shots… It’s not inside me to make a film that would be ‘correct.’ Other people do it so much better than me.” </div>
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At the same time, part of the experimental nature of her work comes from the production limitations. In a film scene like Portugal’s, where budgetary issues make for a permanent struggle, Azevedo Gomes has made her entire career as an outsider scraping together the money for her work, either self-producing with the help of friends or collaborating every now and then with more established production houses.Her 2002 experimental fiction <i>Altar</i> was shot very much on her own, and the constraints imposed by the tight budget contributed to its austere visuals. Veteran producer Paulo Branco backed her second feature <i>Frágil como o Mundo </i>(2001), while Joana Ferreira and Isabel Machado’s CRIM Productions were behind <i>Correspondences</i> and <i>The Revenge of a Woman</i>.</div>
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This last work, based on the 1874 novella by French writer Jules Barbey d’Aurevilly and with a stunning lead performance from Rita Durão, was in fact the film that made Azevedo Gomes’ name known internationally. Its theatrical, distanced staging is a good example of her penchant for narrative experimentation. In <i>The Revenge of a Woman </i>you can already find the seeds of <i>The Portuguese Woman</i>: the idea of a narrator introducing the tale of a noblewoman fallen in disgrace has both a continuation and an inversion in the new film. Instead of an on-screen narrator (João Pedro Bénard in <i>The Revenge of a Woman</i>), we have Ingrid Caven, one of Rainer Werner Fassbinder’s (and modern art cinema’s) muses, playing a sort of “Greek chorus” that appears out of nowhere at regular intervals, as a ghostly, out-of-time presence that punctuates and silently comments on the work. </div>
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At times, Caven seems to be a distorted mirror image of the title character, an imperious dame in medieval times, played by fiery-haired Clara Riedenstein (the revelation of João Nicolau’s <i>John From</i>), unwilling to submit to the patriarchal society of the times. The German actress seems to be a flesh-and-blood portrait of Dorian Gray, showing the trials of time, while the real woman remains immaculate. Azevedo Gomes is intrigued by the connection—after all, her work has often referred to classic art—but hadn’t thought at all of Oscar Wilde’s book. </div>
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Instead, she speaks of contemporaries of Musil in early 20th century Europe, and especially of artist Paul Klee. “I was trying to explain to Ingrid something that was somewhat unexplainable: hers wasn’t exactly a role, it was more of a presence. And in the conversation something came up that helped us both: Paul Klee’s drawing <i>Angelus Novus</i>, the one that Walter Benjamin wrote an essay on. You know, the small drawing of the cutest angel with wings, being blown away by the wind, who, upon seeing all the world in ruins, all the rubbish that mankind shows us every day, wants to restart everything, rebuild everything from the ruins... That’s when everything started to make sense, and she had something to go on, something she could draw from.” </div>
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Quoting from Benjamin and Klee comes naturally to a filmmaker well-versed in classical art and classical filmmaking. After all, the new work, <i>Danses macabres, </i>is a collaboration with kindred spirits, a sort of museological road movie as Azevedo Gomes, Léon, and Jean-Louis Schefer contemplate and discuss art. In Berlin, Ingrid Caven spoke reverently of the director’s knowledge of art and culture, “the old beauties” as she says, and of her painterly eye for framing and staging. </div>
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But Azevedo Gones herself prefers to shy away from that. “It’s very difficult for us to define beauty, isn’t it?” she said. “Maybe there’s something about eternity, continuation… Beauty is a very personal thing. It’s not just about memory, it's about a state of enchantment for one another.” The exact state her films try to recreate in the viewer. - <a class="css-1uht1eq" font-family="body" font-size="14px" href="https://mubi.com/notebook/posts/author/306"><strong><span style="color: black;">Jorge Mourinha</span></strong></a></div>
<a href="https://mubi.com/notebook/posts/rita-azevedo-gomes-the-correspondences-of-beauty">https://mubi.com/notebook/posts/rita-azevedo-gomes-the-correspondences-of-beauty</a><br />
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<span style="font-size: small;"><strong>The 15th Stone / <em>‘A 15a. Pedra’,</em> 2007.</strong></span><br />
Joáo Bénard da Costa, director of the Portuguese National Film Archives [deceased in 2009], interviews the dean of contemporaneous film directors [96-years-old then]. Two humanists of different philosophical backgrounds, both with their long, entire lives dedicated to culture in general (music, painting, literature) and to film in particular, discuss freely, sometimes haltingly, the director’s power as a creator or a magician, the philosophy beyond particular scenes in classic movies, film technique, the importance of color, sound and music to films, art versus entertainment, and much more. Their talk takes place in a museum room, seating in front of “The Annunciation” (a 1510 oil painting by João Vaz, a Portuguese artist), which eventually leads to a discussion of ‘Leonardo da Vinci’, and the relationship between a trend-setter master and his disciples<br />
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<span style="font-size: small;"><strong>The Sound of the Shaking Earth, 1990.</strong></span><br />
Freely based on Gide (‘Paludes’) and Hawthorne (‘Wakefield’), this is a film about a writer who never wrote anything and who blows at nightfall the breath of frost. The poem by Carlos Queiroz to which the above sentences belong is not cited in ‘O som da Terra a Tremer’, but the atmosphere is that, between written letters never received. Fiction within fiction, stories within stories, like those Chinese boxes in which there is always one inside another. Or the two margins of the same river, always being lateral.<br />
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<span style="font-size: small;"><strong>The Invisible Collection, 2009.</strong></span><br />
A story about art and educated men, and how their art and culture reveal themselves useless in the face of the harsh realities of the 20th century life.<br />
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<img alt="Review: The Portuguese Woman" data-id="108076" height="435" src="https://cineuropa.org/imgCache/2018/11/16/1542362433160_0620x0435_0x0x0x0_1573349328973.jpg" style="cursor: pointer;" title="play" width="620" /><br />
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“War is made of debt, and peace is the conduit of corruption and vice,” says the Bishop of Trent (<strong>Alexandre Alves Costa</strong>), eyeing his former enemy upon signing a peace treaty to end the long war between his episcopate and the family of the Lords von Ketten. Historically, it is unclear who these gentlemen really are, as many bishops of Trent have been immersed in wars with rulers of the surrounding territories during the course of history. But dry facts are secondary in <em><a href="https://cineuropa.org/film/343053/">The Portuguese Woman</a></em> helmed by one of the key figures in contemporary Portuguese cinema, <strong>Rita Azevedo Gomes</strong>, who has taken on another literary challenge. After adapting <strong>Stefan Zweig</strong>’s <em>The Invisible Collection</em> (2009) and making <em><a href="https://cineuropa.org/film/211513/">A Woman’s Revenge</a></em> (2012), based on a story from <strong>Jules Amedée Barbey d’Aurevilly</strong>’s anthology <em>Les Diaboliques</em>, followed by her acclaimed documentary <em><a href="https://cineuropa.org/film/313307/">Correspondences</a></em> <span class="filmLinks" style="z-index: auto;">[<span class="filmLinksPlus">+<span class="filmLinksLinks" style="display: none;"><span>see also: <br /><a href="https://cineuropa.org/en/newsdetail/313817/">film review</a><br /><a href="https://cineuropa.org/en/video/rdID/313307/f/t/">trailer</a><br /><a href="https://cineuropa.org/en/film/313307/">film profile</a></span></span></span>]</span> (2016), she demonstrates her deep affection for classical literature once again. <em>The Portuguese Woman</em> is a take on <strong>Robert Musil</strong>’s second of three stories in <em>Three Women</em>, and the screen adaptation was written by <strong>Agustina Bessa-Luis</strong>. <br />
The film opens with the poem <em>Unter den Linden</em> (“<em>Under the Lime Tree</em>”) by medieval German lyric poet Walther von der Vogelweide, sung by <strong>Ingrid Caven</strong> in her recognisably out-of-tune manner. She provides a contrast with the spirit of the period drama by being clad in a contemporary black dress. In a strong performance, stumbling through the ruins of the once-rich castle and wild greenery, she’s a kind of (mainly) singing narrator of the story surrounding the titular Portuguese woman (<strong>Clara Riedenstein</strong>) and her warrior husband Lord von Ketten (<strong>Marcello Urgeghe</strong>).<br />
Respecting the generations-old custom of not tying the knot with a woman from the surrounding area, von Ketten – a man from the family “cruel as knives that always cut deep” – weds in Portugal and takes his young spouse on a year-long journey back to his family castle near the Brenner Pass, the official Alpine border between Italy and Austria. He is eager to get stuck back into battle over a question of territory, and his wife is left with the servants and the newborn baby to wait for his return. Fast-forward 11 years, and things have barely changed, except for von Ketten’s deteriorating health, caused by a banal insect sting, as well as the appearance of “another Portuguese heretic” – the woman’s cousin, Dom Pero Lobato (<strong>João Vicente</strong>), whose presence sparks rumours about her infidelity.<br />
By embracing Musil’s deliberate mystification of the timeframe, space and characters to address the perpetual mistakes of humankind and its biggest passion – love – Azevedo Gomes captures the very essence of the original story. All five shooting locations across Portugal bear incredible similarities to the writer’s descriptions, such as the shabby von Ketten castle, for instance. The drab tones of the mist-shrouded landscape at the foot of the mountain imbue Musil’s metaphor for mankind’s dissociation from true values with an extra touch of mystique. In stark contrast with them are the colours of burnt amber, yellow ochre and Prussian blue inside the castle, all adding to the feel of early Flemish painting. Behind the film’s magical cinematography is veteran DoP <strong>Acácio de Almeida</strong>.<br />
The often-intentional static nature of the actors turns them into powerful tableaux vivants, while the doors to mysterious background spaces gape discreetly, in the manner of Pieter Bruegel the Elder’s hidden, out-of-focus details. The costumes by <strong>Rute Correira</strong> and <strong>Tãnia Franco</strong>, while not ostentatious, are masterful down to the smallest detail. Songs and ballads dating from the 12<sup>th</sup> to the 15<sup>th</sup> century, two of them composed by <strong>José Mário Branco</strong>, help keep the time and place fluid.<br />
<em>The Portuguese Woman</em> is rich and varied in its characters, and sophisticated in its challenging dialogue, which is peppered with references to great works of art, literature and mysticism. - <span itemprop="author"><strong>Marina Richter</strong></span><br />
<span itemprop="author"><a href="https://cineuropa.org/en/newsdetail/363320/en/video/rdid/343053/en/video/rdid/343053/">https://cineuropa.org/en/newsdetail/363320/en/video/rdid/343053/en/video/rdid/343053/</a></span></div>
zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-25292445432476470122019-10-03T01:43:00.001-07:002019-10-03T01:43:08.562-07:00Joris Ivens & Mannus Franken - Regen AKA Rain (1929) <div dir="ltr" style="text-align: left;" trbidi="on">
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<em>Regen</em> (<i>Rain</i>) is a black-and-white short film by Joris Ivens and Mannus Franken about a rain shower in Amsterdam. As a masterpiece of Dutch avant-garde cinema, it is an impressionist and lyrical example of a city symphony, a film form that organizes urban images according to musical guidelines by combining experimental, documentary and narrative techniques. In 1932 Ivens asked Lou Lichtveld to write a score for the originally silent film, and a second sound version was made by Hanns Eisler in 1941. The film shows the effects of a natural phenomenon on the modern city with its motorized traffic and crowds, and reveals the transforming and aesthetic qualities of this everyday event by depicting the city before, during and after the rain. In a poetic play of light and shadow, reflection and refraction, the film studies the urban textures and semi-transparent surfaces such as skylights, tram windows and canals. During the rain shower, the entire city is covered with a second, semi-reflecting surface, generating a new and modern mediated vision not unlike cinematic perception. Reflected images appear on rain-soaked streets, puddles and canals. The city becomes a screen that Ivens’s camera uncovers and doubles.<br />
<a href="https://www.rem.routledge.com/articles/regen-rain-1929">https://www.rem.routledge.com/articles/regen-rain-1929</a><br />
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Joris Ivens (Georg Henri Anton Ivens), nicknamed “The Flying Dutchman” for his globe-trotting career, was a Dutch documentary maker. His political commitment and deft use of montage helped to shape documentary practice as he recorded and championed generally leftist political causes on every continent but Antarctica. Ivens was born in Nijmegen, Holland, to a prosperous Catholic family who ran a photographic supplies business. While studying to take charge of the family business, Ivens became both politically active and fascinated with film culture. In 1927 he helped to found the Amsterdam Filmliga [Film League], which brought him into contact with avant-garde films of the day and with visiting filmmakers, including Sergei Eisenstein and Vsevolod Pudovkin. A Filmliga visit to Berlin experimental abstract animator Walter Ruttmann (1887–1941) allowed Ivens to see Ruttmann’s new documentary feature, <i>Berlin, die Sinfonie der Grosstadt</i> [Berlin, Symphony of a Great City] (1927), one of the first films to attempt to portray a city solely through edited shots of urban life and physical details. The film’s influence on Ivens persisted throughout his career.<br />
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Joris Ivens made his first documentary films in the late 1920s, working alone with a hand-held 35 mm camera. In 1945 he commented that the time of the one-man documentary was over, such were the complications of script, sound, cameras, editing, commentary and music. Even a team of two or three people could not manage it. By 1967 he had thought again, and concluded that technical changes made documentary something for a small team, “a collective of people who understand each other”. <a href="https://www.blogger.com/null" name="b1"></a><a href="http://sensesofcinema.com/2005/great-directors/ivens/#1">(1)</a> Now, 16 years after Ivens’ death, we are back to his starting point, and one person can quite easily make a documentary on his or her own, from the images and sound to the editing and even the production and distribution.<br />
But the idea of what a documentary should be has changed radically, and much of Ivens’ work sits uneasily with present ideas. Now that the camera can be grafted to the documentarist’s eye, with practically unlimited video time, anything other than recorded observation, with direct sound, is considered to be in bad faith. Such films are constructed from what is “seen”, during a lived experience. If there is commentary at all, it is personal, the subjects explaining themselves or the filmmaker voicing his or her thoughts and feelings.<br />
In contrast, Ivens’ films were often scripted, with events reconstructed or acted out, the better to tell a story or to deliver a political message. More often than not, the sound was designed in a studio, with a commentary and score to explain or accentuate what is on the screen. If the story demanded, newsreel footage would be pressed into service, in some cases making up the majority of the film.<br />
Technical and economic constraints meant that Ivens had to work in this way, and in order to embark on a film at all he had to make concessions to both his camera and the film’s “sponsors” (whether governments, unions, companies or political organisations). But in many ways Ivens was aiming for the same result as today’s observational documentarist: to put on screen what is seen or felt during a lived experience. That these experiences were frequently political in nature leads his films to be classed as either militant polemic or propaganda, depending on the political persuasion of the critic. But they are all faithful to the underlying idea that there is a human reality that can be captured on film and shared.<br />
The people who make digital, observational documentaries sometimes appear to have forgotten that they are a part of cinema, and that they can draw on all of the techniques and strategies that cinema provides, without betraying the goal of objectivity. Ivens never forgot this, never ceased to experiment and update his repertoire. If he had lived to see the digital age, it is unlikely that he would have been content to press record and wait for something to happen.<br />
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Beginnings</h3>
George Henri Anton Ivens was born in 1898, in Nijmegen, a Dutch town close to the German border. His father owned a series of photographic shops, and it was with a view to joining the family business that Ivens – Joris to his friends – studied economics in Rotterdam, photochemistry in Berlin, camera construction in Dresden and lenses in Jena. When he returned to run the family store in Amsterdam in 1924 he was under the spell of the artistic life he had experienced in Berlin, of which the cinema was an integral part. During his time in Berlin he particularly recalled seeing the films of GW Pabst, EA Dupont and FW Murnau.<br />
Amsterdam offered a rich cultural life, although it was not always possible to see the latest experimental films. Inspired by a private screening of Vsevolod Pudovkin’s <em>Mat </em>(<em>Mother</em>) (1926), Ivens and his friends started the Filmliga, a society dedicated to showing films that for artistic or political reasons were not otherwise distributed in the Netherlands. This included the abstract films of Walter Ruttmann and Hans Richter, René Clair’s <em>Entr’acte</em> (1924), Germaine Dulac’s <em>La Coquille et le clergyman </em>(<em>The Seashell and the Clergyman</em>) (1928), plus the films of Alexander Dovzhenko, Sergei Eisenstein and Alberto Cavalcanti. Among the earliest documentaries, the Filmliga screened Robert Flaherty’s <em>Nanook of the North </em>(1922) and, later, Victor Turin’s <em>Turksib </em>(1929). More importantly, carrying out the Filmliga’s business allowed Ivens to meet many of these directors in person.<br />
In a family of photographers it is unsurprising that Ivens came early to filmmaking, and the beginning of his filmography is made up of intimate home movies, plus <em>De Wigwam</em> (<em>Wigwam</em>) (1912), a school-boy Western made with family and friends. His decision to make films of a more serious sort came from the combined experience of the avant-garde films being shown by the Filmliga and the work he had to do selling cameras for his father. Through 1927 and 1928 he embarked on a number of film experiments exploring techniques of subjective filming, including a bar seen through the bottom of a beer glass, and attempts to replicate the movement of walking and ice-skating. Alongside these experiments he also discussed fiction projects, although these never got beyond screen tests of an actress friend.<br />
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Stolen Hours</h3>
His first completed film is similarly a search for a visual language. <em>De Brug</em> (<em>The Bridge</em>) (1928) is based on a systematic analysis of the movements of a railway bridge in Rotterdam that can be raised and lowered to let a boat pass underneath. He chose this subject because it repeated the same action over and over, and would be the same every time he could snatch an hour from work (and a few metres of film) to go and shoot it.<br />
The film announces its agenda from the very start, with a presentation of three different views of the camera itself, as if in a technical drawing. It then proceeds to examine the bridge from all angles, up and down its towers, along the rails, in amongst the winding gear. But alongside this inevitable, almost abstract mechanical process is a story: a train is speeding towards the city; it must stop and wait for the bridge to be raised; when the bridge descends, it can continue on its way. For all his analysis, Ivens cannot give himself up entirely to the abstract.<br />
The same can be said of <em>Regen</em> (<em>Rain</em>) (1929). At the visual level it is an abstract exploration of water falling on water: rain on the wet streets of Amsterdam, on the canals, on the bonnets of cars, and so on (including, it seems, on the skylight above Ivens’ bed). As with <em>The Bridge</em>, the film was shot over many months, although this time the subject was not the same every time Ivens went back. Is it therefore a greater leap to construct from this material, as Ivens did, a film that tells the story of one rainstorm over Amsterdam? Perhaps, if the sole aim is abstract analysis. But if your aim is documentary, to represent the lived experience of a rainstorm, the leap is essential.<br />
The result of the film club experience was that young filmmakers saw the great possibilities that the cinema had to offer, without being encumbered by conventions or genres. They had strong feelings about what was and was not good filmmaking, but almost no sense of anything being out of bounds. In a world where newsreels were made by cameramen standing a respectful distance from the event in question, it was obvious that a better film could be made by using close-ups, by moving along with the action, as in fiction films or in the purely abstract.<br />
Ivens was no different, and it is possible to see his early films as a complete cinematic response to a particular situation. This approach can be seen in the fiction film <em>Branding</em> (<em>Breakers</em>) (1929), made between <em>The Bridge</em> and <em>Rain</em> in collaboration with Mannus Franken, who dealt with script and actors while Ivens took control of the camera. He adapts the dramatic camera angles of Soviet political cinema to a pair of lovers walking in the sand dunes, shoots “newsreel” footage of villagers going to church on a Sunday, and takes his camera into the sea to follow a suicidal fisherman who has lost his fiancée (and almost everything else) to the village pawnbroker. In this story one can also see the first stirrings of social themes in Ivens’ films, later developed in an account of poverty in the bogs of Drenth, a film now lost. <a href="https://www.blogger.com/null" name="b2"></a><a href="http://sensesofcinema.com/2005/great-directors/ivens/#2">(2)</a><br />
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Working and Not Working</h3>
The success of <em>The</em> <em>Bridge</em>, and later <em>Rain</em>, brought Ivens commissions to make films from the Dutch Building Workers’ Union and for companies in the Netherlands and beyond. He fulfilled these by setting up a film production unit within his father’s company and recruiting a team of collaborators from among his friends. This group included Helene Van Dongen and John Fernhout, who went on to have long careers in cinema in their own right.<br />
For the union Ivens made a series of films known collectively as <em>Wij Bouwen</em> (<em>We Are Building</em>) (1930), which, when screened together, last for several hours. The aim was to promote the work of the union, celebrate the work of Dutch builders, and encourage a sense of solidarity pride among members. Some of these films simply show building methods, such as pouring concrete to make a floor in a building or driving piles, the various methods explored from all angles in the same way (and to the same effect) as in <em>The Bridge</em>. Others show the activities in the union’s head office, its summer camps, or surveyed recent Dutch architecture. While there are longueurs in this work there are also striking sequences, such as destitute workers queuing to receive union assistance.<br />
Among these films one stands out, and has had the strongest independent existence. <em>Zuiderzeewerken </em>(<em>Zuiderzee Works</em>) describes the methods with which the Dutch set about reclaiming land from the vast northern inland sea, building dykes, pumping out water and creating new agricultural land. Its worth as a historical document is undisputed, the harsh manual labour it shows is clearly more shocking now than it would have been at the time. A key sequence shows the workers weaving a huge wooden raft, which is dragged out into open water and sunk as an anchor for a dyke – sunk with hundreds of rocks thrown by hand from the accompanying barges. Again Ivens wraps up the abstract examination of processes with a story, the race to close a particular section of dyke, man and his machines against the sea.<br />
Throughout <em>We Are Building</em>, Ivens makes sure that the worker is shown alongside his work, that the camera shows his point of view. Ivens was always particularly gratified when workers told him after seeing the films that this was how they saw the work, and even more so when a Soviet worker accused him of lying when he claimed to have directed a scene of rock breaking, because a bourgeois could never have shown so well how it felt. <a href="https://www.blogger.com/null" name="b3"></a><a href="http://sensesofcinema.com/2005/great-directors/ivens/#3">(3)</a> But it is also striking that Ivens includes the workers eating and sleeping, putting down their tools and leaving work as well as the work itself. His sympathy with his subject informs the images. - <a class="author url fn" href="http://sensesofcinema.com/author/ian-mundell/" rel="author" title="Posts by Ian Mundell"><strong>Ian Mundell</strong></a><br />
<a href="http://sensesofcinema.com/2005/great-directors/ivens/">read more here</a></div>
zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com1tag:blogger.com,1999:blog-9090164656735666067.post-12754146205665521172019-05-09T06:26:00.000-07:002019-05-09T06:26:22.816-07:00Benjamin Bardou - Pointcloud film<div dir="ltr" style="text-align: left;" trbidi="on">
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<strong><span style="font-size: large;">Glitch impresionizam.</span></strong><br />
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<a href="https://vimeo.com/benjaminbardou">https://vimeo.com/benjaminbardou</a><br />
<!-- /react-text --><a href="http://www.benjaminbardou.com/">www.benjaminbardou.com</a><br />
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<a href="https://vimeo.com/313402681">Unexpected Memory from Kyoto</a> from <a href="https://vimeo.com/benjaminbardou">Benjamin Bardou</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
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Benjamin Bardou is a French <b>Filmmaker</b>, <b>Visual Artist</b> and <b>Matte Painter</b>, with a remarkable artistic history behind him.<br />
His training as an<b> artist</b> takes place at the Georges Méliès School in Orly, an institute specialized in courses mainly devoted to <b>animation</b> and <b>visual effects</b>.<br />
His art has often been inspired by the works of the German philosopher Walter Benjamin, from which he has mainly extrapolated the <b>concept</b> of <b>historical materialism</b> and visually re-adapting it to his works.<br />
Among the categories in which Benjamin excels, we undoubtedly recognize compositing but above all <b>matte painting</b>, an area in which the artist is a true specialist.<br />
He currently works as Matte Painter at <b>Mikros Image</b>, a <b>digital post-production and visual effects</b> company whose activities are mainly aimed at the <b>feature film</b> and <b>advertising</b> industry.<br />
His last masterpiece is <i>Shared Memories</i>, created in collaboration with <a href="https://www.nutscomputergraphics.com/en/ispirational/assassin-creed-motion-graphics-reel/"><b>Ash Thorp</b></a>, <span style="font-weight: 400;">another great artist of </span><b>digital art</b><span style="font-weight: 400;">. </span><br />
<span style="font-weight: 400;">He has also participated, over the years, in various exhibitions all over the world. </span><br />
<a href="https://www.nutscomputergraphics.com/en/ispirational/benjamin-bardou-filmmaker-visual-artist-and-matte-painter/">https://www.nutscomputergraphics.com/en/ispirational/benjamin-bardou-filmmaker-visual-artist-and-matte-painter/</a></div>
zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-22185710205271527112019-04-12T09:45:00.002-07:002019-04-12T09:45:50.848-07:00Mu Pan - Garden Of Earthly Delight<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://www.mupan.com/">http://www.mupan.com/</a><br />
<a href="http://mupan1911.blogspot.com/">http://mupan1911.blogspot.com/</a><br />
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<strong><span style="font-size: x-large;">Kill them all, kill us all! Like it all!</span></strong><br />
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<strong>Mu Pan’s work is filled with monstrous creatures, mythological or literary figures all taking part in some epic battle. Mu Pan loves epic movies and he even teaches a course about epic drawing at the Illustration Program at the School of Visual Arts in New York. To him, war is a beautiful thing, it creates great characters and it also writes history. You got to be a great artist in order to fight a war as a commander. There is so much art you have to master in warfare such as formation, finance, time, strategy, geography, force, the art of brainwashing for loyalty and the sense of duty. It takes a great amount of patience and it also requires a high level of charisma and intelligence. “Whether it is for invading or defending, to me it’s beautiful to see how one person can unite all the individual strength to become one great power”, he claims. Every monster he draws is actually a self-portrait in his (not so much) made-up world.</strong><br />
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Even though he is an American citizen, (he came to New York when he was 21 so he was never really accepted as an American) he still doesn’t feel like having a country, a home. “My family came from mainland China to Taiwan with the R.O.C. government in 1949. I was born and raised in Taiwan until I was 20, but I always consider myself Chinese. When in Taiwan, I was never a so-called Taiwanese-because of my family background-and of course, I do not have the citizenship of the People Republic of China. Maybe one day, if China and Taiwan are unified again, I will totally embrace that and shout out loud to the world that I’m a Chinese.” Part of his art is “Shit Myth and Shit History of China” where irony, anger and humour are displayed. It’s an homage, a dedication to people who sacrificed their lives for the Republic of China, to his people who are left in Taiwan, struggling under the conceptual political strategy from the current Taiwanese Government since 1949. Either as a propaganda soldier-artist of the Republic of China or as an art student he couldn’t stand following rules, classic formats and pretentious techniques. He uses his ideas like a gunshot, fast and maverick so a sketchbook and a pen are enough. If the story intrigues him, it just comes out naturally without much of an effort.<br />
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There is a strange calmness, a peculiar comfort when one looks at his sketches or paintings and that’s what’s important for Mu Pan-not the violence, not the grandly poetic bloodbath, not the truncation of soldiers, leviathans or even nations. Pan admits he owes a great deal to Tarantino and Looney Tunes as they established a comic shade at (their) violence-which is what he is trying to do as well. “I worship the strength of man and animals. I dream having the dominating power to rule and destroy, create fear to my enemies. Of course, that’s impossible, no one can have this kind of power in today’s world. So, I created my own world for myself filled with my images. I can be whatever I wanna be, I can eat whoever I hate.”<br />
Text by Konstantinos Plakonas<br />
By <a class="url fn n" href="https://www.kaltblut-magazine.com/author/amanda-m-jansson/" itemprop="url" rel="author"><strong><span itemprop="name">Amanda M Jansson</span> </strong></a> <br />
<a href="https://www.kaltblut-magazine.com/monstrous-creatures-mythological-%EF%AC%81gures-by-mu-pan/">https://www.kaltblut-magazine.com/monstrous-creatures-mythological-%EF%AC%81gures-by-mu-pan/</a><br />
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<a href="http://www.mupan.com/" target="_blank"><span style="color: #3e1be0;">Mu Pan</span></a>’s massive painted battle scenes are teeming with both details and satire, humor and an introspective bleakness. The Chinese-American painter, based in Brooklyn, New York, reflects varying periods of art history in each work. And his newer paintings, rendered in acrylic on wood, reflect his fascination with Asian war history, pop culture, dinosaurs, and other topics.<br />
“I love battle scenes; it’s my favorite subject,” the artist said in a past statement. “But it has nothing to do with my military service experience in Taiwan. In fact, I was just a propaganda soldier of the political warfare department—all I did there was poster-making and mural-painting. I couldn’t even dissemble a .57 rifle! Battle scenes excite me, especially the kind with swords and spears and people on horses trying to kill each other. I don’t know why—I just like it—in paintings, in movies. I enjoy producing images like that.”<br />
“I love battle scenes; it’s my favorite subject,” the artist said in a past statement. “But it has nothing to do with my military service experience in Taiwan. In fact, I was just a propaganda soldier of the political warfare department—all I did there was poster-making and mural-painting. I couldn’t even dissemble a .57 rifle! Battle scenes excite me, especially the kind with swords and spears and people on horses trying to kill each other. I don’t know why—I just like it—in paintings, in movies. I enjoy producing images like that.”<br />
The series “Dinoassholes” is its own narrative, showing humans and Mesozoic creatures interacting in both peaceful and, in true Pan fashion, a chaotic manner.<br />
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<a href="https://hifructose.com/2017/05/07/mu-pans-chaotic-elegant-battle-scenes/">https://hifructose.com/2017/05/07/mu-pans-chaotic-elegant-battle-scenes/</a><br />
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“Mu Pan’s work tells stories, which the artist attributes to his own childhood creating stories and narratives for comfort, while his parents were away,” a statement says. “Instead of asking questions about his world and human nature, the artist began developing his own answers with characters and allegories, a tool he uses today in his compositions. For Bright Moon Shines on the River, Mu Pan explores the violence and humor that drives us all, through a fictional universe that combines elements of Japanese culture with an embattled, nautical world.”<br />
<a href="https://hifructose.com/2018/07/10/mu-pans-recent-monstrous-battle-scenes/">https://hifructose.com/2018/07/10/mu-pans-recent-monstrous-battle-scenes/</a><br />
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<a href="http://joshualinergallery.com/exhibitions/pan_new_works_june_7_2018/" rel="noopener noreferrer" target="_blank">Joshua Liner Gallery</a>'s latest is titled <em>Bright Moon Shines on the River</em>, and is the gallerys first solo show with Brooklyn-based artist, <a href="https://www.juxtapoz.com/tag/mu-pan/" rel="noopener noreferrer" target="_blank">Mu Pan</a>. The exhibition will showcase new acrylic works, all based on one painting of a whale Mu Pan created and destroyed some 11 years ago. Revisiting this central figure, the artist expands his scale and uses the theme of the whale hunt to explore human nature through cartoon-like, but very dense, narratives. <br />
<a href="http://www.mupan.com/" rel="noopener noreferrer" target="_blank">Mu Pans</a> work tells stories, which the artist attributes to his own childhood creating stories and narratives for comfort, while his parents were away. Instead of asking questions about his world and human nature, the artist began developing his own answers with characters and allegories, a tool he uses today in his compositions. For Bright Moon Shines on the River, Mu Pan explores the violence and humor that drives us all, through a fictional universe that combines elements of Japanese culture with an embattled, nautical world.<br />
With their common ocean backdrop and a shared set of characters, collectively the works all seem to combine to tell a larger story. However, each painting is a unique and separate battle in this war between the animals we recognize and other monsters we dont. Morphed figures serve as visual adaptations of the artists influences: deadly and powerful dolphins morph with woman, sharks with Yakuza-tattooed warriors in their geta shoes. It is exactly this absurdity, woven amid the graphic scenes of blood and limbs, that crystallize Mu Pans belief that all humor is based in cruelty. A theme we see again and again in Mu Pans practice. Pulling from his memories of Looney Tunes characters endlessly hurting one another for laughter, this connection had a powerful influence on the artist. Exploring this connection in his work, the artist comments on our human nature, and considers the frequent violence in his work to be cute and comical.<br />
The central work of the show, Big Whale, depicts one killer whale under attack by a fleet of boats, captained by monkeys. The illustrative nature of the all over composition is applied here with an almost cross-hatch rigor, exposing his homage to the Japanese woodblock masters (ukiyo-e). From Moby Dick to the Japanese wood-block artist, Kuniyoshi, whaling has been depicted in art and literature for centuries; a symbol for the power of nature. With his current body of work, Mu Pan exploits this concept of man versus nature, while questioning the seriousness of it all through his anthropomorphized characters. <br />
<a href="https://www.juxtapoz.com/news/painting/mu-pan-wondrous-bright-moon-shines-on-the-river/">https://www.juxtapoz.com/news/painting/mu-pan-wondrous-bright-moon-shines-on-the-river/</a><br />
Mu Pan is originally from Taiwan. He received a BFA from the School of Visual Arts in 2001. In 2007, SVA’s Illustration as Visual Essay Department awarded him an MFA with honors. Pan has had solo exhibitions at 3rd Ward in Brooklyn and at KunstRaum H&H in Cologne, Germany. He had his own booth at Art Taipei in 2011. His work has been included in many exhibitions in the U.S. and abroad, including shows at the Copro Gallery in Santa Monica, California; La Luz De Jesus Gallery and Giant Robot 2 in Los Angeles; and the Musée de la Halle Saint Pierre in Paris.<br />
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-63836414443386604472019-02-15T04:28:00.002-08:002019-02-15T12:47:33.183-08:00Chou Ching-Hui - Animal Farm<div dir="ltr" style="text-align: left;" trbidi="on">
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<strong><span style="font-size: large;">Da, ljudski život je bonsai.</span></strong><br />
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<a href="http://www.chouchinghui-art.com/works/visual/6/60">http://www.chouchinghui-art.com/works/visual/6/60</a><br />
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<span style="font-size: 11pt;">Zoo is a space full of imagination and conflict. It symbolizes joy (for visitors), yet it also symbolizes confinement and segregation (for animals). It symbolizes the convenience and marvels of modern life (a collection of rare animals from all over the world), and it also suggests a hint of the apocalyptic salvation of Noah’s Ark (protecting species on the verge of extinction). </span><br />
<em><span style="font-size: 11pt;">Animal Farm</span></em><span style="font-size: 11pt;"> is full of fancy and realistic theater scenes, includes a lot of symbols, matching a familiar interior space with a artificial environment of the zoo, describes “the society is as a cage, where we are jeering at the people living in there”. <em>Animal Farm</em> was shoot by a full-focus camera allowing the audience to clearly see things happening in every corner of the photos and gaining the same feeling with Chou. <em>Animal Farm</em> includes 3 different themes: Body Existence, Life Boundary, and Social Environmental Frame. These themes let the audience rethink the situation, which we are living in.</span><br />
<span style="font-size: 11pt;">Invested with a great amount of resources, Chou and his teammates spent for 5 years to plan and do the project, <em>Animal Farm</em>. The shooting of project took place in Hsinchu Zoo and Shou Shan Zoo in Taiwan, which has a very intimate relationship with the idea of the project. </span><br />
<span style="font-size: 11pt;"></span><a href="https://www.lagalerie.hk/chouchinghui/">https://www.lagalerie.hk/chouchinghui/</a><br />
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With Taiwan in mind we head for Taipei’s Chini Gallery stand at Art Stage to meet artist Ching-hui Chou and gallerist Audrey Tu. Working initially as a photo journalist Ching-hui Chou soon began to develop and fund his own creative projects which included Frozen in Time, Images of a Leper Colony (exhibited 1995 Taipei Fine Arts Museum and 1997 National Ching-Hua University Arts Center in Hsinchu); Vanishing Breed, images of Workers (exhibited 2002 Taipei Fine Arts Museum and 2004 Quanta Building Hall, Taipei); Wild Aspirations, the Yellow Sheep River Project (exhibited 2009 Taipei Fine Arts Museum and 2010 Istituto degli Innocenti, Florence). The Yellow Sheep River Project was published as a limited edition photography book.<br />
Not surprisingly given the dazzling quality and complexity of his work, Ching-hui Chou is the recipient of numerous awards including for The Yellow Sheep River Project the Golden Butterfly Award, the Red Dot Design Award, and the iF Communication Design Award.<br />
We are especially here to view Ching-hui Chou Animal Farm series first exhibited at Taipei’s Museum of Contemporary Art. The series of works named after George Orwell’s allegorical novel Animal Farm.<br />
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The series of complex tableaus were created over a period of five years. Two zoological gardens were used for the locations, Hsinchu Zoo and Shoushan Zoo, which were visited by the production crew on numerous occasions. The complex task of organising the shoots, working with the zoos, gaining permissions to use the sites, care taken not to disturb the animals, creating intricate sets, gathering together and casting the actors and organising the technicians required to complete the project was an immense task. The images were taken at dawn and dusk to create the required atmosphere.<br />
The Animal Farm series is composed of 36 works, the complex tableaus and intimate portraits. The large works are just under two meters wide, the portraits just over a metre wide. So all the works are large in scale.<br />
The complex and fable like tableaus are much more than just replacing the animals in the zoo with humans in the zoo. Chi-Ming Lin, Professor and Chairman Department of Arts and Design, National Taipei University of Education, describes the body of works being presented in three different stages of major social structures that modern humans have not been able to escape and are not realising this fact. <strong>The stages are, firstly the structure of body consciousness; secondly the structure of survival consciousness and thirdly the structure of collective behaviour and consciousness.</strong><br />
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A Bonsai pine tree features in the works and it has a symbolic meaning and purpose. It is both the artist’s signature, a mark of identity but it also represents the need to adjust to obstacles in life, the bindings representing the tangible and intangible constraints that capture and distort people’s lives.<br />
<img alt="" height="302" src="https://www.creativecowboyfilms.com/uploads/ckeditor/W1siZiIsIjIwMTYvMDIvMDEvMDRfMTlfMDFfOTMxX0FuaW1hbF9GYXJtXzEuanBnIl0sWyJwIiwidGh1bWIiLCI2NDB4NjQwPiJdXQ/Animal%20Farm_1.jpg" style="height: 484px; width: 640px;" width="400" /><br />
The work called Animal Farm No 1 was photographed at Hsinchu Zoo in the cage where the Brown Lemurs were kept. In the symmetrical archways Ching-hui Chou captures two sets of young couples working out. The image also includes a painting of classics beauties and a poster of contemporary stars. Here the artist is telling us that the motive for the exercise has more to do with body image than improving one’s health. The couples are self absorbed, ignoring others while enjoying themselves, a reference to modern fitness centres, and the audience, as if watching animals in the zoo, the audience is guided to examine the contemporary trend of seeking beauty, so much part of contemporary fashion.<br />
<img alt="" height="302" src="https://www.creativecowboyfilms.com/uploads/ckeditor/W1siZiIsIjIwMTYvMDIvMDEvMDRfMTlfMzFfNDMxX0FuaW1hbF9GYXJtXzIuanBnIl0sWyJwIiwidGh1bWIiLCI2NDB4NjQwPiJdXQ/Animal%20Farm_2.jpg" style="height: 484px; width: 640px;" width="400" /><br />
The work called Animal Farm No 2 was photographed in what used to be the living area for Muller’s Bornean Gibbons in Hsinchu Zoo. In the spatial setting of the main work, several elements were juxtaposed to compare and contrast the background from the foreground. At the farthest point are real woods spanning across the image, then, concrete buildings painted with jungle images that used to be a resting place for animals, and the temporary settings that mimicked supermarket and living spaces constructed by Ching-hui Chou. The foreground, which is meant to be a living space as well as a display space for the animals, is transformed into a diverse theatre of a modern consumer society and including domestic life. Humans perform a pantomime of daily life in this farm converted from a zoo. The scene appears poetic, beauteous Eden on Earth, seemingly satisfying and worry-free, quiet and peaceful, however, at the same time, the scene reflects the idea that humans are trapped in this continual tableau without being able to break free from their confinement.<br />
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The work called Animal Farm No 3 was photographed using a birdcage in the Shoushan Zoo. Ching-hui Chou constructed two spaces on left and right of the image which present a contrast of circumstances. On the left, the indoor space is fully equipped with domestic objects and filled with symbols of safety, peace, good fortune and longevity, such as the bodhisattva statue, an old pine tree, and a crane. However, the old man is sitting on the sofa like a patient as time passes by. To the right of the image is a contrasting balcony space where an old lady on a wheel chair is quietly appreciating the harmonious and glorious sunset. Aging is the inevitable fate that human beings must face, it is just like the net cast over the birdcage which allows no escape. Nonetheless, how one spends their twilight years all depends on attitude of mind and decision in life.<br />
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The work called Animal Farm No 4 was photographed at the Chimpanzee cage at Shoushan Zoo. Here Ching-hui Chou built two symmetrical rooms. The room to the right of the image shows an empty study where the work has paused. The distorted portrait of Francis Bacon and the staring animals suggest create an atmosphere of stress in the study. To the left is a bedroom, here the painting is of a holy mother who is breastfeeding a child. The husband watches his wife inject Progesterone. In this orderly space the idea of having a child adds content to their lives. These juxtaposed rooms speak of the dilemma. Particularly regarding the pressures in Asia, of being able to sustain the pressures of having a family and career at the same time.<br />
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In Animal Farm No 5 Ching-hui Chou transforms the Barbary Sheep enclosure in Shoushan Zoo into a silent theatre of “art of the market.” In the image, in addition to the gold and silver coins spilled all over the ground, the artist follows the terrain and arranges four painters to perform and display their works. Obviously, this is a world of art as well as a world of money. Taking a closer look, these four artists also represented different artistic preferences. The artist on the top right corner gazes into a modern architectural model in the birdcage, but the painting on his easel is something very different. The second painter in the lower left hand corner of the image is pondering about a sculpture, on his easel is an image of a documentary report revealing war and famine. The third painter in the middle of the scene uses a model, huddled up as if sleeping on the street. Nevertheless, the subject of his painting is a naked woman lying down at her ease. The fourth painter on the lower left hand corner of the image is not using any physical references; he simply composes his work with head portraits from the banknotes of different countries. However, the amount of coins around and under his feet, which represents market value and monetary gains for a work, outperformed all the other artists.<br />
<img alt="" height="302" src="https://www.creativecowboyfilms.com/uploads/ckeditor/W1siZiIsIjIwMTYvMDIvMDEvMDRfMjJfMTZfMTI0X0FuaW1hbF9GYXJtXzYuanBnIl0sWyJwIiwidGh1bWIiLCI2NDB4NjQwPiJdXQ/Animal%20Farm_6.jpg" style="height: 484px; width: 640px;" width="400" /><br />
The work called Animal Farm No 6 was photographed at the viewing area for the Celebes Crested Macaque at Shoushan Zoo. The construction of a fashionable and contemporary domestic scene includes a patient like women, pale faced and wearing a robe. In the middle distance the woman appears again this time wearing an elegant blue cheongsam and stretched out on a clinic’s chaise lounge chair. In the front of the work our patient suggests that even the well off cannot eliminate their psychological struggles. A psychotherapist sits maintaining a similar stare, listening and jotting down notes, without interacting with the patient. The wire mesh can be looked through but the high wall at the back of the image excludes the outside view, enforcing a mood of frustration, the powerless psychotherapist and the helpless patient.<br />
<img alt="" height="302" src="https://www.creativecowboyfilms.com/uploads/ckeditor/W1siZiIsIjIwMTYvMDIvMDEvMDRfMjNfMDhfODEyX0FuaW1hbF9GYXJtXzcuanBnIl0sWyJwIiwidGh1bWIiLCI2NDB4NjQwPiJdXQ/Animal%20Farm_7.jpg" style="height: 484px; width: 640px;" width="400" /><br />
The work called Animal Farm No 7 was photographed in the area where the Black Panthers are kept at Shoushan Zoo. The image includes three distinct elements, a night sky with trees, symbolising natural surroundings; a concrete fortress symbolising and animal cage and a central area enclosed by metal bars that signifies a zone of civilisation. The most inner space is a jail with a jail, a cage within a cage. The woman is self absorbed and melancholy and she examines her bleeding nose. The stiches around her waist tell the viewer that the woman has recently undergone liposuction. She is surrounded by designer bags, high-heeled shoes, jewellery, couture clothing, cosmetics and Barbie dolls. Here Ching-hui Chou is telling us that the pursuit of beauty through only physical appearance and consumer fashion items is out of control and here it is compared to religious zealousness.<br />
<img alt="" height="302" src="https://www.creativecowboyfilms.com/uploads/ckeditor/W1siZiIsIjIwMTYvMDIvMDEvMDRfMjNfMzNfNDI5X0FuaW1hbF9GYXJtXzguanBnIl0sWyJwIiwidGh1bWIiLCI2NDB4NjQwPiJdXQ/Animal%20Farm_8.jpg" style="height: 484px; width: 640px;" width="400" /><br />
In Animal Farm No 8 Ching-hui Chou utilises the Orang-utan enclosure in Hsinchu Zoo. This is a natural setting, which merges real and virtual elements. Here the artist places six child actors in different places, four are connected to each other with hoses and seek out one another using flashlights, one girl is sending out communication signals via balloons, as the other girl sits on a platform calmly observing the on-going events. Today smart phones have become more powerful and the mass media continues to develop. New means of communication and Internet communities have replaced face-to-face interpersonal exchanges in a fast-paced and unbounded way. The visual presentation of this work provides strong evidence for “being able to be connected on-line but still feeling all alone.” This is a new social phenomenon felt by more and more people in an era where Internet communities can be formed easily through social media.<br />
<img alt="" height="302" src="https://www.creativecowboyfilms.com/uploads/ckeditor/W1siZiIsIjIwMTYvMDIvMDEvMDRfMjRfMDdfNjEyX0FuaW1hbF9GYXJtXzkuanBnIl0sWyJwIiwidGh1bWIiLCI2NDB4NjQwPiJdXQ/Animal%20Farm_9.jpg" style="height: 484px; width: 640px;" width="400" /><br />
Animal Farm No 9 features the Hippo enclosure in the Shoushan Zoo, the image a wedding scene as well as a riddling drama. In the foreground, a male figure in a white wedding dress, is either entering the location or exiting it and is urinating into the pond. In the middle distance, a bride is calmly stepping towards a waterfall, the back of her dress is stained with blood, and the audience cannot tell whether she does not notice or simply does not care. Twins, hard to tell if they are male or female, hold flowers in their hands and are there to witness the ceremony. The Chinese antique chair at the back of the scene is empty, signaling the absence or disapproval of the elders. The artist employs the existing concrete wall and pond to form a third site that embodies “the private joys.” The inflatable doll, the lift ring and the float together create a scene of the lost paradise, representing the surfacing of lust from the subconscious.<br />
<a href="https://www.creativecowboyfilms.com/blog_posts/ching-hui-chou-animal-farm">https://www.creativecowboyfilms.com/blog_posts/ching-hui-chou-animal-farm</a><br />
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<img src="http://www.chouchinghui-art.com/images/projects/bimg/1497181232035.jpg" height="768" style="width: 100%;" width="1084" /><br />
<img src="http://www.chouchinghui-art.com/images/projects/bimg/1497181222435.jpg" height="1024" style="width: 100%;" width="683" /><br />
<img src="http://www.chouchinghui-art.com/images/projects/bimg/1497181220805.jpg" height="1024" style="width: 100%;" width="683" /><br />
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-48224434523667960612019-02-15T03:24:00.000-08:002019-02-15T03:36:23.902-08:00Robert Macfarlane and Adam Scovell - Holloway<div dir="ltr" style="text-align: left;" trbidi="on">
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<strong><span style="font-size: large;">Pastoralni pred-horror.</span></strong><br />
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Further exploration of Dorset’s sunken pathways by <strong>Robert Macfarlane</strong> and film-maker <strong>Adam Scovell:</strong><br />
In 1971 Derek Jarman made a ten-minute silent short called <em>Journey To Avebury,</em> documenting a summer walk through the chalklands of southern England. The film seems, at first, more pastoral home-movie than avant-garde: sheep graze, footpaths dwindle into the long distance. Gradually, though, an eeriness builds. Where are the people? Who is holding the camera? The landscape feels emptied, rather than empty. Clouds glower and loom. A psychic weather communicates itself to the viewer: close, clammy, threatening. Vital to this atmosphere is the Super-8 film on which Jarman shot the work. Super-8 flickers and blebs. It bleeds. Colours lustre and thicken within it. Its scratchy textures suggest another set of frames underneath, showing through here and there; other stories trying to pry their ways out. <br />
<a href="https://www.caughtbytheriver.net//wp-content/uploads/2015/07/journey_avebury4.jpg"><img alt="journey_avebury4" class="aligncenter size-medium wp-image-50191" height="344" sizes="(max-width: 518px) 100vw, 518px" src="https://www.caughtbytheriver.net//wp-content/uploads/2015/07/journey_avebury4-518x344.jpg" srcset="https://www.caughtbytheriver.net/wp-content/uploads/2015/07/journey_avebury4.jpg 518w, https://www.caughtbytheriver.net/wp-content/uploads/2015/07/journey_avebury4-150x100.jpg 150w, https://www.caughtbytheriver.net/wp-content/uploads/2015/07/journey_avebury4-60x40.jpg 60w" width="518" /></a><br />
Early last year, I began a collaboration with a talented young film-maker called <a href="http://celluloidwickerman.com/">Adam Scovell.</a> Inspired in part by Jarman, and by the possibilities of Super-8 as a medium that was also a form, we set out to make a short film about the sunken lanes in South Dorset that are known as holloways. I had become fascinated by these strange folds of land: by the manner in which history seemed to repeat – re-pleat – itself within and around them, across centuries, and by the patterns of echo and loop that I perceived the holloways as somehow generating. Super-8 – Adam’s preferred stock – seemed the perfect film on which to shoot this subject, given its palimpsestic surface and its shivery rhythms. I wrote a text to be spoken as voiceover, which I tried to ingrain with doublings and reversals (of image, word, sound). We wanted to make a film that cast a brief strong spell.<br />
Adam spent two days filming in Dorset. He took his 1970s Canon camera, and three 3 ½-minute rolls of Kodak. That was all. No room for error on a nine-minute film. None of the digital luxuries of firing off test-bursts, or letting the camera run. I admired his parsimony and control; wished I could acquire some as a writer. He hit winter days of white light, rain, sun flares and water flooding the bellies of the holloways like mercury.<br />
<a href="https://www.caughtbytheriver.net//wp-content/uploads/2015/06/Digital-Holloway-4.jpg"><img alt="Digital-Holloway-4" class="aligncenter size-medium wp-image-50141" height="298" sizes="(max-width: 518px) 100vw, 518px" src="https://www.caughtbytheriver.net//wp-content/uploads/2015/06/Digital-Holloway-4-518x298.jpg" srcset="https://www.caughtbytheriver.net/wp-content/uploads/2015/06/Digital-Holloway-4.jpg 518w, https://www.caughtbytheriver.net/wp-content/uploads/2015/06/Digital-Holloway-4-150x86.jpg 150w, https://www.caughtbytheriver.net/wp-content/uploads/2015/06/Digital-Holloway-4-60x35.jpg 60w" width="518" /></a><br />
Then Adam edited. On and off for seven months – getting on for a month per minute. I admired his patience and commitment; wished I could acquire some as a writer. He layered in wildtrack of the holloways, recorded by the artist and composer <a href="http://www.jamesjbulley.com/">James Bulley</a>. He underlaid the Super-8 here and there with Stanley Donwood’s artwork: spectral pencil underworld to the celluloid upperworld.<br />
<a href="https://www.caughtbytheriver.net//wp-content/uploads/2015/06/still-1.jpg"><img alt="still 1" class="aligncenter size-medium wp-image-50151" height="291" sizes="(max-width: 518px) 100vw, 518px" src="https://www.caughtbytheriver.net//wp-content/uploads/2015/06/still-1-518x291.jpg" srcset="https://www.caughtbytheriver.net/wp-content/uploads/2015/06/still-1.jpg 518w, https://www.caughtbytheriver.net/wp-content/uploads/2015/06/still-1-150x84.jpg 150w, https://www.caughtbytheriver.net/wp-content/uploads/2015/06/still-1-60x34.jpg 60w" width="518" /></a><br />
At last there was a near-final edit. At that point we approached the musician and poet <a href="https://richardskelton.wordpress.com/">Richard Skelton</a> to see if he would score the film. He agreed, and wrote original music for it. So it came together. <em>Hommage</em> to Jarman and the holloways. A layered film about a layered place; a film of folds about a folded place.<br />
The Super-8 had a last surprise for us, though. Embedded in Adam’s footage were several dark forms, human-ish in outline, unidentifiable but unmistakable, visible within the leaves or the shadows. ‘What the hell is that thing at 2.02?’, I e-mailed Adam. ‘I’m glad you can see it too,’ he replied. ‘My dad thinks I’ve gone mad…’.<br />
<a href="https://www.caughtbytheriver.net/2015/07/robert-macfarlane-stanley-donwood-holloways/">https://www.caughtbytheriver.net/2015/07/robert-macfarlane-stanley-donwood-holloways/</a><br />
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It feels odd to finally be able to say that <em>Holloway </em>is finished. This oddness derives not just from the fact that it has been the longest planned film that I’ve produced so far (starting all the way back from Robert Macfarlane’s first email to me in February 2014) but because the subject of the film itself is never-ending. The holloways of Dorset do not end because really they fail to leave the minds of those who walk upon their paths. Technically though, the film is finished and though I have mentioned variously the <a href="https://celluloidwickerman.com/2015/01/19/filming-in-the-holloways/"><span style="color: #a44a36;">planning</span></a> and the <a href="https://celluloidwickerman.com/2015/03/30/trailer-holloway-robert-macfarlane/"><span style="color: #a44a36;">process</span></a> of filming it in several articles, there’s still a few elements that I feel round off the film and project as a whole.<br />
In Robert’s main chapter of writing on the holloways in <em>The Wild Places</em>, he suggests both the process and what could even be termed the genre-like form that I wish the film to sit within:<br />
<em>An artistic tradition has long existed in England concerning the idea of the ‘unseen landscape’, the small-scale wild place. Artists who have hallowed the detail of landscape and found it hallowing in return, who have often found the boundless in the bounded, and seen visions in ditches. (2007, p.227).</em><br />
<em>Holloway</em> is immersed in this unseen landscape, aiming to create textures from it in order to provide the very real sense of diving into the underworld that walking these paths actually spawns. As is refreshing when finally escaping out of these paths and back into vast plains of landscape, it is often contrasted with visuals of the more open aspects of this area; a rural equivalent of Orwell’s “coming up for air” so to speak.<br />
<a href="https://celluloidwickerman.files.wordpress.com/2015/06/edited-8.jpg"><img alt="edited-8" class=" size-large wp-image-3194 aligncenter" data-attachment-id="3194" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="edited-8" data-large-file="https://celluloidwickerman.files.wordpress.com/2015/06/edited-8.jpg?w=1024" data-medium-file="https://celluloidwickerman.files.wordpress.com/2015/06/edited-8.jpg?w=300" data-orig-file="https://celluloidwickerman.files.wordpress.com/2015/06/edited-8.jpg" data-orig-size="1920,1080" data-permalink="https://celluloidwickerman.com/2015/07/06/short-film-holloway-robert-macfarlane/edited-8/" height="360" sizes="(max-width: 1024px) 100vw, 1024px" src="https://celluloidwickerman.files.wordpress.com/2015/06/edited-8.jpg?w=1024&h=576" srcset="https://celluloidwickerman.files.wordpress.com/2015/06/edited-8.jpg?w=1024&h=576 1024w, https://celluloidwickerman.files.wordpress.com/2015/06/edited-8.jpg?w=150&h=84 150w, https://celluloidwickerman.files.wordpress.com/2015/06/edited-8.jpg?w=300&h=169 300w, https://celluloidwickerman.files.wordpress.com/2015/06/edited-8.jpg?w=768&h=432 768w, https://celluloidwickerman.files.wordpress.com/2015/06/edited-8.jpg 1920w" width="640" /></a><br />
If you managed to catch <a href="http://www.theguardian.com/books/2015/apr/10/eeriness-english-countryside-robert-macfarlane"><span style="color: #a44a36;">Robert’s fantastic Guardian article</span></a> on the “English Eerie” a few months back, you may also be aware of the chief influence on this film; an influence I don’t mind acknowledging as the differences between the work is vast enough to avoid accusations of copy. In the article Robert mentions that “… the contemporary eerie feeds off its earlier counterparts, as with Millar off Blackwood, Fisher off James and Scovell off Jarman.” having earlier explained that he’s been working alongside with me “…to adapt a co-written book called <em>Holloway</em> into a nine minute Super-8 short, inspired in part by Derek Jarman’s early silent film, <em><a href="https://celluloidwickerman.com/2014/12/29/perception-of-landscape-in-a-journey-to-avebury-1971-derek-jarman/"><span style="color: #a44a36;">Journey To Avebury</span></a> </em>(1971).” (Guardian, 11/04/2015). Jarman’s film presents a form that arguably also ties into the phenomenological conception of Robert’s unseen landscape artists and it is the same sense of discovery, of being lost (in time as well as in space) and the sheer power of landscape on grain that we both wish for <em>Holloway</em> as a film to convey. Hopefully this comes across in earnest and in the best spirit of a very polite but subtle tipping of the Super-8 hat to the alchemical sage.<br />
Perhaps the final aspect to mention is the difference that music makes and the presence <a href="http://www.corbelstonepress.com/"><span style="color: #a44a36;">Richard Skelton</span></a>‘s work in the film. Skelton came to the project late on for a number of reasons. I was only introduced to his music in the last few months (ironically whilst in the midst of editing the film visually) and it was not until the connection was made between the music a friend had been recommending and the musician to whom Robert devotes a whole chapter of his latest book, <em>Landmarks</em>, that the choice of who to score the film became completely obvious. It goes without saying that his textural drones and occasional <em>On Land</em>-esque melodies add wonderfully to the film’s undercurrents of eeriness.<br />
<a href="https://celluloidwickerman.files.wordpress.com/2015/06/edited-9.jpg"><img alt="edited-9" class=" size-large wp-image-3195 aligncenter" data-attachment-id="3195" data-comments-opened="1" data-image-description="" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="edited-9" data-large-file="https://celluloidwickerman.files.wordpress.com/2015/06/edited-9.jpg?w=1024" data-medium-file="https://celluloidwickerman.files.wordpress.com/2015/06/edited-9.jpg?w=300" data-orig-file="https://celluloidwickerman.files.wordpress.com/2015/06/edited-9.jpg" data-orig-size="1920,1080" data-permalink="https://celluloidwickerman.com/2015/07/06/short-film-holloway-robert-macfarlane/edited-9/" height="360" sizes="(max-width: 1024px) 100vw, 1024px" src="https://celluloidwickerman.files.wordpress.com/2015/06/edited-9.jpg?w=1024&h=576" srcset="https://celluloidwickerman.files.wordpress.com/2015/06/edited-9.jpg?w=1024&h=576 1024w, https://celluloidwickerman.files.wordpress.com/2015/06/edited-9.jpg?w=150&h=84 150w, https://celluloidwickerman.files.wordpress.com/2015/06/edited-9.jpg?w=300&h=169 300w, https://celluloidwickerman.files.wordpress.com/2015/06/edited-9.jpg?w=768&h=432 768w, https://celluloidwickerman.files.wordpress.com/2015/06/edited-9.jpg 1920w" width="640" /></a><br />
I can only end with offering my deepest thanks to all who helped make the project possible. My thanks to Richard for his brilliant music, to Stanley Donwood for kindly letting me use his stunning artwork, to <a href="http://www.jamesjbulley.com/"><span style="color: #a44a36;">James Bulley</span></a> and Giles Stogden for their fantastic soundscape, to <a href="http://www.faber.co.uk/9780571310661-holloway.html"><span style="color: #a44a36;">Dan Richards</span></a> for his support (and for sending me a copy of <a href="http://www.amazon.co.uk/Beechwood-Airship-Interviews-Dan-Richards-ebook/dp/B00SF44QWG/ref=asap_bc?ie=UTF8"><span style="color: #a44a36;">his latest book</span></a> which is superb), to Jeff Barrett for getting it out there and publishing it on <a href="http://www.caughtbytheriver.net/2015/07/robert-macfarlane-stanley-donwood-holloways/"><span style="color: #a44a36;">Caught By The River</span></a> and to Hell Barn Cottages in Dorset for giving me a cheap rate in their haunted barn. And finally, thanks to Robert who has given me more creative support over the last year or so than just about anyone else I know. Here’s to the next one.<br />
A campaign to save one of the Dorset Holloways can be found <a href="https://www.change.org/p/dorset-county-council-save-dinah-s-hollow-melbury-abbas-dorset?just_created=true"><span style="color: #a44a36;">here</span></a>.<br />
<strong><em>Adam.</em></strong><br />
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<span class="wpa-about"><a href="https://celluloidwickerman.com/2015/07/06/short-film-holloway-robert-macfarlane/">https://celluloidwickerman.com/2015/07/06/short-film-holloway-robert-macfarlane/</a></span></div>
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<strong>Author Robert Macfarlane and film-maker Adam Scovell have put together a wonderfully eerie short film adaptation of the best-selling Faber book, <em>Holloway</em>. In July 2005, Robert Macfarlane and Roger Deakin – author of Wildwood – travelled to explore the holloways of South Dorset’s sandstone. They found their way into a landscape of shadows, spectres & great strangeness. Six years later, after Roger Deakin’s early death, Robert Macfarlane returned to the holloway with the artist Stanley Donwood and writer Dan Richards. The book – now a bestseller – is about those journeys and that landscape.</strong><br />
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Moving in the spaces between social history, psychogeography and travel writing, Holloway is a beautiful and haunted work of art – so much so, that it lends itself perfectly to the medium of film. Macfarlane’s collaboration with film-maker Adam Scovell is a haunting further exploration of Dorset’s sunken pathways.<br />
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“I had become fascinated by these strange folds of land: by the manner in which history seemed to repeat – re-pleat – itself within and around them, across centuries, and by the patterns of echo and loop that I perceived the holloways as somehow generating. Super-8 – Adam’s preferred stock – seemed the perfect film on which to shoot this subject, given its palimpsestic surface and its shivery rhythms. I wrote a text to be spoken as voiceover, which I tried to ingrain with doublings and reversals (of image, word, sound). We wanted to make a film that cast a brief strong spell.”</blockquote>
<a href="https://www.faber.co.uk/blog/holloway-robert-macfarlane-short-film-released/">https://www.faber.co.uk/blog/holloway-robert-macfarlane-short-film-released/</a><br />
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-13762906978364698112019-02-01T08:34:00.000-08:002019-02-01T09:17:16.332-08:00Werner Tübke (1929-2004) - Meesterschilder tussen Oost en West<div dir="ltr" style="text-align: left;" trbidi="on">
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<strong><span style="font-size: large;">Vječni srednji vijek.</span></strong><br />
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Step right up into the world of Werner Tubke! The painter and illustrator from Leipzig created fantastical imagery, replete with virtuosity and a love of storytelling. In the style of the old masters, he transformed the everyday and the political into something that transcends time, and in that way developed his own distinct, anachronistic viewpoint. As a co-founder of the Leipziger Schule, Tubke paved the way for a figurative art, which has earned him international recognition since the 1970s. Reiner E. Moritz met with the GDR's extravagant prince of painting in his studio and accompanied him at work on his showpiece, the German Peasants' War panorama in Bad Frankenhausen.<br />
<img alt="" class="fancybox-image" src="https://static.webshopapp.com/shops/106328/files/100316807/werner-tuebke-meesterschilder-tussen-oost-en-west.jpg" /><br />
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<strong>The immense panorama by Werner Tübke (1929-2004) in Bad Frankenhausen is sometimes referred to as the Sistine Chapel of the North. Tübke painted the panorama between 1976 and 1987. The subject is the German Peasants' War of 1524-1526; the people's revolt against the powers that be in the south of the German speaking area, which the GDR saw as a precursor for the People's Republic. Tübke is seen as the most important painter of the GDR. He was certainly no superficial propagandist . His virtuoso, theatrical and sometimes bizarre work retained its aesthetic significance, even after the fall of the wall in 1989. Museum de Fundatie will present the first retrospective exhibition of Tübke’s paintings outside Germany next spring. This will include the 15 meters long preliminary study (scale 1:10) of his panorama from the Berlin National Gallery’s collection.</strong><br />
Werner Tübke painted a number of large scale state assignments. In addition to the panorama, he painted an allegory of <em>The working class and intelligentsia</em> for the Karl-Marx-Universität in Leipzig (1970) and a multi-panel on <em>Man – the measure of all things</em> for the Palast der Republik in Berlin (1974). Tübke studied at the Hochschule für Grafik und Buchkunst in Leipzig at the end of the nineteen forties. At the beginning of the nineteen fifties he continued his education at the Caspar-David-Friedrich-Institut in Greifswald, where he also studied art history. He made his first study trip to Italy in the early seventies. Initially, Tübke came under fire as his work refused to conform to the socialist realism demanded at the time, however the GDR government later embraced him as the ultimate interpreter of the communist ideal.<br />
As an artist, Tübke’s prominent position in the GDR has always been a source of controversy, despite his exquisite mastery. His traditional style and working approach also saw the avant-garde dismiss him as non-modern and therefore of little interest. Upon closer inspection however, his work reveals a very original artist indeed. An artist who within the context of an assignment chose to plough his own furrow. An artist fully autonomous in both his art and his social opinions. His depiction of the German Peasants' War for example is no political pamphlet. Tübke painted a universal human drama; the disillusioned end to a utopia. If there is one striking lesson from history Tübke presents us with, it is that nothing ever appears to be learned.<br />
The core theme in Tübke's paintings is the 'condition humaine'. They depict man resplendent with bells and frills, however these are a decorative order tending towards the grotesque. The jester makes a regular appearance in Tübke's work, as do the marionette and the harlequin. The paintings seem to announce that all is vanity and the world a mere stage. Tübke saw himself as link in a centuries-old tradition chain which he considered of such essence and scale that he refused to be disturbed by the fleeting and transient experiments demanded by modernism. The art of a wide and impressive range of predecessors, including Hieronymus Bosch, Albrecht Dürer, Matthias Grünewald, Caspar David Friedrich and Otto Dix, produce a natural and convincing resonance in his work. The anti-traditionalist front which characterises western art from after 1945 is as good as absent in the art of the GDR. This left open fertile ground for traditional painting to flourish towards new heights.<br />
<a href="https://www.museumdefundatie.nl/en/werner-tubke-2/">https://www.museumdefundatie.nl/en/werner-tubke-2/</a><br />
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German painter, born in Schönebeck, one of the best-known but also one of the most controversial figures in the art of the Communist DDR. He joined the Artists' Union in 1952 as well as the East German Communist Party. His relations with the authorities could be problematic. In 1959 he was criticized for ‘concessions to modernist views of art’. His style drew on medieval and Renaissance sources and was far closer to the Magic Realism of Western Europe in the interwar period than to Socialist Realism. In early paintings he combined religious imagery with state-approved political subjects. The Portrait of the Cattle Breeder Brigadier Bodlenko (1962, Museum der Bildenden Künste, Leipzig), an equestrian portrait in the style of a medieval knight but sporting a modern wristwatch, was attacked as ‘a ghostly, bizarrely estranged relationship to life in a country that is engaged in building a communist society’.<br />
In 1965 he produced a cycle of paintings entitled Die Lebenserinnerungen des Dr. jur. Schulze (Nationalgalerie, Berlin). Although not a commissioned work, it followed official ideology in depicting continuity between the Nazi regime and the present-day politics of West Germany. The principal figure is a judge who, having perverted the judicial system during the Third Reich, remains a lawyer in the Federal Republic. The jumble of images has been compared by Richard Pettit to the apocalyptic scenes of Bosch and Bruegel. Tübke was vehemently criticized for ‘idealism’ and especially for proximity to Surrealism. By the 1970s the complexity of such work had become sanctioned by official criticism under the category of Simultanbild (Painting of Simultaneous Images) or ‘dialogical pictures’, which depended upon an intellectual dialogue with the spectator. The acceptance of Tübke's art was one manifestation of a change in official cultural policy in which artists of the past such as Albrecht Dürer and Lucas Cranach were celebrated. In this context, Tübke, by then one of the leading figures in East German art, was commissioned in 1976 to paint a gigantic panorama entitled Early Bourgeois Revolution in Germany. It depicts the Battle of Frankenhausen (1525), which led to the defeat of the peasants, and is housed in a specially constructed building in Bad Frankenhausen. Tübke's ambition was to link the Reformation, the Renaissance, and the Peasants' War. The work was completed in 1987. Although he trained his own team of assistants, most were unable to cope with the demands of the project, the largest painting in Germany according to the Guinness Book of Records, and Tübke executed approximately two thirds of the work himself. His leading critical supporter in West Germany, Edward Beaucamp, wrote in 1993 that in the panorama ‘the artist in the end triumphs over the sponsor’ and that he ‘transformed the state monument into a pure art monument’.<br />
By the time Germany was unified in 1989, Tübke already had a substantial reputation in the West. As early as 1972, West German curators had surreptitiously tried to persuade him to defect. His relationship to the Old Masters was very much in accord with the vogue for Postmodern quotation in the 1980s. Nonetheless, his most important post-Communist work, a three-winged altarpiece for the church of St Salvatoris in Clausthal-Zellerfeld (1997), was attacked by the critic Peter Iden as ‘devotional kitsch’. Alongside Fritz Cremer, Wolfgang Mattheuer, and others, Tübke exemplifies the problems of making simple distinctions between conformists and nonconformists among the artists of the DDR, let alone of making moral judgements on their conduct.<br />
<a href="http://www.oxfordreference.com/view/10.1093/oi/authority.20110803110032525">http://www.oxfordreference.com/view/10.1093/oi/authority.20110803110032525</a><br />
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-20855493545493451652018-11-05T00:29:00.000-08:002018-11-05T00:29:28.423-08:00Naomi Uman - Removed (1999)<div dir="ltr" style="text-align: left;" trbidi="on">
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<strong><span style="font-size: large;">Uzrok žudnje, uzrok bilo čega, uvijek je prazan, tek ga naknadno punimo nekim "sadržajem". Ili: sve postoji bez uzroka, uzrok je uvijek retroaktivni proizvod, posljedica.</span></strong><br />
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“I am an experimental filmmaker. My non-fiction films draw from personal experience. I live with my subjects for long periods of time, often waiting to film or record sound until I have become integrated into a community or a family. I had lived with a family of immigrants, both documented and undocumented, for a period of almost a year before making a film that was unflinching in its portrait of their lives. This film, which turned a critical eye on the subject family and the situation which creates this separate and unequal world in which they live within the United States, caused the public to question my right as a filmmaker to criticize people whose status as immigrants was a status that I had never experienced myself. Taking this to heart, I decided to embark on my own immigration.” (NU) - <a href="https://www.courtisane.be/en/event/profile-naomi-uman">https://www.courtisane.be/en/event/profile-naomi-uman</a><br />
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<span style="font-size: small;">Ukrainian Time Machine: Living Films by Naomi Uman</span></h1>
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<strong><span style="color: navy;"><span style="color: maroon;"><span style="color: grey;">IN PERSON: </span></span><span style="color: maroon;"><span style="color: black;">NAOMI UMAN </span></span><span style="color: maroon;"> </span></span></strong>► Like a crochet needle swiftly passing through loops of silk and wool, like sun-thickened fingers prying at garlic-clove sheaths, like a chorus of wedding songs around a table of varenyky and boiled dumplings, Naomi Uman’s camera lives amongst the people, homes and villages she films. Setting out to retrace the footsteps of her family’s own immigrant history, Naomi, an American artist who divides her time between Los Angeles and Mexico City, made a reverse journey of her great-grandparents' emigration from Uman, Ukraine. She bought a house in Legedzine, just outside of Uman, toured films around the country, befriended village babushki, and established an artist residency for cultural exchange. The films in “Ukrainian Time Machine” evolved out of the tactile and visceral experience of living in Legedzine. <em>Kalendar </em>chronicles her early days of Ukrainian language lessons. <em>Clay </em>is a portrait of a brick factory that sits atop the ruins of the 5000- year-old, clay-based Trypillian civilization. <em>Unnamed Film</em> contains footage, in chronological order, shot from the time she arrived in Legedzine to the time she left. “Ukrainian Time Machine” is the latest extension of an artistic practice that involves Uman’s prolonged immersion in the world of her subjects; in previous projects, she lived with a diary-farming family in rural Mexico and with a Mexican immigrant family employed in industrial dairy production in California.<br />
<a href="http://www.thecinematheque.ca/dim/ukrainian-time-machine-living-films-naomi-uman">http://www.thecinematheque.ca/dim/ukrainian-time-machine-living-films-naomi-uman</a><br />
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In her 1999 short film Removed, Naomi Uman brilliantly intervenes in the scopophilic pleasure of visually consuming women's bodies on screen by literally erasing only the women's naked bodies from the frame. This film bears serious consideration on numerous levels beginning with the painstaking process by which the artist obliterated the women's bodies by hand, frame-by-frame (through the use of female-coded domestic products of nail polish remover and bleach) through a process that may be thought of as an ironic inversion of the media industries' practices of "retouching" to achieve apparent perfection in the bodies of (especially) women models and actresses. Removed also invites analysis in terms of the relative capacities for eroticism in sound and image. What is lost from the intended function of these scenes when pornography's conventional form of visual gratification is withheld? - <a href="http://www.criticalcommons.org/author/ccManager"><strong>Critical Commons Manager</strong></a> <br />
<a href="http://www.criticalcommons.org/Members/ccManager/clips/removedh264.mp4/view">http://www.criticalcommons.org/Members/ccManager/clips/removedh264.mp4/view</a><br />
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FILMS:<br />
<span class="filmtitle">REMOVED</span> (1999, 5 min.)<br /> Using a piece of 1970s porn film, nail polish and bleach, Uman creates a new pornography, one in which the woman exists only as a hole -- an empty animated space.<br /><br /><span class="filmtitle">PRIVATE MOVIE</span> (2000, 6 min.)<br /> A love story in three parts. Through studies on light, movement, happiness, glowing darkness and flickering melancholia, this film tells of a woman's journey of love, with nostalgia, pets, places, and men.<br /><br /><img alt="" class="floatright" height="227" src="https://www.hallwalls.org/media-arts-images/uman_handeye.jpg" width="320" /><br />
<span class="filmtitle">HAND EYE COORDINATION</span><br /> (2002, 11 min.)<br /> This film tells the story of its own making as it explores the manual manipulations upon the film body, examining the cinematic result of mechanical interventions. <br /><br /><span class="filmtitle">LECHE</span> (1998, 30 min.) <br /> Filmed in black and white 16mm, hand-processed and hung to dry, Leche examines details of the life of one family, living on an isolated dairy ranch in Central Mexico.<br /><br /><span class="filmtitle">MALA LECHE</span> (2003, 47 min)<br /> Considered a companion piece, this film follows the same family presented in Uman's earlier film <span class="book">Leche</span>. Now living in California's agricultural Central Valley, the family continues to work with dairy cattle but under very different circumstances.<br />
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In pornography – a genre that Linda Williams has defined as “obsessed with visible proof” – bodies are spectacles, displayed and dissected by the camera in pursuit of pleasure’s physiological truths. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn1">[1]</a> <a href="https://www.blogger.com/null" name="_ednref1"></a> In Naomi Uman’s <i>Removed</i> (1999), the sexualised feminine form is obscured, interrupting pornography’s attempts to quantify and authenticate female pleasure. Uman’s film can also be situated in the artisanal realm of “Handmade Cinema” in that it moves away from “photographic representation” in favour of “abstract form … textual richness and sensory depth”. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn2">[2]</a> <a href="https://www.blogger.com/null" name="_ednref2"></a> To create <i>Removed</i>, Uman painstakingly ‘erased’ the female figures from a 1970s German soft-core porn film, frame by frame. The result: an experimental re-working of pornography that is haunted by crackling white forms wherever the celluloid was tampered with. Uman’s handiwork functions as both a dismantling of the cinematic body and a process of collage. She also performs a kind of “recorporealisation” of female film bodies, using haptic labour to complicate the idea of the camera as an objective optical apparatus in the pursuit of a fixed truth. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn3">[3]</a> <a href="https://www.blogger.com/null" name="_ednref3"></a><br />
In an interview with the <i>Millennium Film Journal</i>, Uman talks in detail about the construction of <i>Removed</i> – made during stints of boredom while she was working her job as a 35mm projectionist at The California Institute of the Arts (CalArts). Re-touching her own acrylic nails, Uman became aware that the nail polish would “resist the action of bleach”. She covered everything on the found footage with nail polish, except for the women’s bodies. She then doused the film strip in bleach, “leaving the women … ‘naked’ and vulnerable” to the bleach’s effects (bleach has a “chemical reaction with the emulsion and causes it to be removed from the plastic film base”). <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn4">[4]</a> <a href="https://www.blogger.com/null" name="_ednref4"></a> Uman’s process is therefore not about ‘erasure’ so much as intervention. Here, absence and presence become two sides of the same experimental gesture. By painting the film strip with nail polish, protecting the women’s surroundings and allowing the bleach to distort the image of their forms, Uman conjures the pornographic depiction of women anew. She transforms female film bodies into shimmering ghosts.<br />
Certainly Uman’s film is a disruption to porn’s visual fixations – the writhing white forms of <i>Removed</i> absorb the gaze with their alien presence. The spectrality of Uman’s work extends beyond a critique of mainstream pornography’s scopophilia, however. What interests us here is the way in which the gruelling techniques of Uman’s handmade cinema serve to materialise female sexual pleasure and question visual methods of authentication. Like the doubled absence and presence of <i>Removed</i>, our reading in this article will be twofold. In the first reading, Hilary Bergen sees a connection between Uman’s creative process and the technique of <i>rotoscoping</i>, an animation technique used to extract motion from the human body in the pursuit of realism. For Bergen, the porn actors whom Uman obscures become suppliers of a hidden and controversial labour – they are like the “secret dancers” who lent their motion to the characters of early animation. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn5">[5]</a> <a href="https://www.blogger.com/null" name="_ednref5"></a> Because Uman’s meticulous approach yields visual results that are similar to rotoscoping, her film evokes the kinetic qualities of female pleasure. That kineticism is teased out through her intimate tracing of the space inhabited by each female body on every frame of celluloid. In the second reading, Sandra Huber observes a link between Uman’s work and the portrayals of sexual fluid in the nineteenth century phenomenon of ectoplasm (a gauzy white substance that emerged from the orifices of female mediums and was said to be a materialisation of the spirit world). While ectoplasm had the consistency of semen, its secretion from a female body meant that it was often brought into historic discussions around fraudulence (especially where photographic ‘evidence’ was concerned).<br />
Our interest in ‘truth’ in this article lies not in the presumed objective view of any camera but in the embodied and experiential practice of the women whose bodies perform labour (or enact the labour of performance). Discussing mainstream, hard-core pornography, Linda Williams writes of how the “woman’s ability to fake the orgasm that the man can never fake (at least according to certain standards of evidence) seems to be at the root of all the genre’s attempts to solicit what it can never be sure of: the out-of-control confession of pleasure, a hardcore ‘frenzy of the visible’”. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn6">[6]</a> <a href="https://www.blogger.com/null" name="_ednref6"></a> In contrast with the visibility (and overwhelming presence) of male sexuality (erection, ejaculation), female sexual pleasure cannot often be explicitly seen. It therefore relies upon a kinetic and audiovisual performance of the body – an output that is primarily affective and ephemeral rather than material and enduring. Such output is made explicit through Uman’s experimental re-working. Following Williams, our dual reading of <i>Removed</i> acts as a feminist intervention into modes of authentication surrounding female sexuality. As Uman’s source film would not be classified as hard-core pornography as such (it does not feature explicit penetration or contain close-ups of genitalia), it may seem counterintuitive to rely on Williams’ arguments. Nonetheless, Uman’s interventions speak directly to what Williams describes as a ‘frenzy of the visible’. By obscuring the spectacle of the female body, Uman diverts the fact-seeking gaze that wishes to clearly see all. Our intention is not to misread Uman’s film based on the specificities of genre but to think about how her creative methods contribute to conversations around visual proof (of pleasure, of authenticity), complicating the link between what is visible and what is true for the female body.<br />
Our readings are united through our fascination with the role of the body, especially in terms of the body’s connection to mechanical ‘truths’ (be they ‘money shots’ or scientific motion studies). We see <i>Removed</i> as a feminist alternative to methods of truth-making that are primarily photographic. Certainly the film’s interest in seeing is also reflected in its narrative content. In one scene, a woman asks her lover to describe a sex act to her. Based on their body positions (she is lying on his lap), only he has visual access to that act. Her plea (“Oh Walter! Tell me what you see! … I want to know everything!”) singles out his gaze, substituting descriptive language for visual evidence and robbing her of her own vision. As he describes the scene in detail to his lover, she herself remains an amorphous white blob. Her presence on-screen cannot be fully seen nor can it be captured with words. As we discussed previously, Uman’s process of making the film involved tracing the female figure frame by frame in order to expose it to chemical action. Ironically, this act of singling out produces a body that lacks boundaries; through motion, the women of <i>Removed</i> bleed into the space around them, dizzying the gaze that tries to fix them. Form and content unite in a shared instability.<br />
Given the abundance of mirrors and deferred gazes that occur in <i>Removed</i>, as well as the characters’ emphasis on the role of imagination in the production of arousal, we can invoke the thought of Jacques Lacan. Lacan’s concept of the <i>lamella</i>, in particular, is akin to ectoplasm in its placenta-like nature. The <i>lamella</i> also possesses a kind of vibrant, lively movement that is useful for both of our readings. Lacan compares the <i>lamella</i> to the “membranes of the egg”, situating it in the realm of the always-enigmatic feminine/maternal. As he writes, it is something “extra-flat, which moves like the amoeba” and is “like the amoeba in relation to sexed beings, immortal – because it survives any division, any scissiparous intervention”. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn7">[7]</a> <a href="https://www.blogger.com/null" name="_ednref7"></a> The <i>lamella</i> is reproductive yet unnatural. Cyborg-like, it has its own agency. It can survive the removal of its source but its connection to the libido also tethers it to the human body. As Lacan puts it, the <i>lamella</i> results in “pure life instinct, that is to say, immortal life or irrepressible life, life that has need of no organ, simplified, indestructible life”. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn8">[8]</a> <a href="https://www.blogger.com/null" name="_ednref8"></a><br />
There is something ghostly about the <i>lamella</i> in that it is both a figuration in Lacan’s theoretical framework and it can also be read alongside other material instances. Like a monster, the <i>lamella</i> becomes real in that it is made sensually palpable through our imagination of it. In contrast with the pornographic gaze that Williams describes, the erotic space of fantasy is unpredictable and generative. It is never fully seen, always partially hidden and remains full of potential. Like the verb ‘secrete’ which holds the double meaning of ‘to shroud’ and ‘to reveal’, both Uman’s disappeared women and the bodies of ectoplasmic mediums occupy an uneasy space between presence and absence. That space is kinetic and alive and, above all, <i>embodied</i>. That space communicates, as Brian Massumi writes, “when gesture is deprived … of its terminus, its pragmatic truth potential is suspended”, making it “a purely speculative activity”. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn9">[9]</a> <a href="https://www.blogger.com/null" name="_ednref9"></a> The <i>lamella</i>, which also evades terminus, is similar to both ectoplasm and corporeal motion. Though both are produced by the body, their production occurs in excess and extension of the body. Similarly, Uman’s ghostly forms express a strong sense of fluidity. In our doubled reading, we identify fluid properties of the body which, in their secretion, keep secrets rather than revealing ‘truths’.<br />
<i>Reading One: Kinetic Traces</i><br /><i>Removed</i> uses palpable and embodied labour to alter what was originally captured by way of the camera. By way of handmade re-composition, Uman conjures new bodies and objects to interrogate the visual semiology that we accept as given. In <i>Removed</i>, effacement and summoning are revealed as sister acts; a repetition with a difference wherein “there is always some detritus strewn about in the aftermath, some bruising to the surface” and “the rejected entity has a habit of returning, ghostlike”. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn10">[10]</a> <a href="https://www.blogger.com/null" name="_ednref10"></a> Uman’s alterations to the original film strip serve not so much to blot out the porn actor’s nude figure but to obscure her shape and her facial expressions. She transforms her into a new entity, radically re-working the generic context of hard-core pornography. The bleach fades the contours of the figure into a hazy mist, enacting a kind of reverse striptease that verges on censorship. The result is, as Uman herself observes, somehow “far more erotic than the original”. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn11">[11]</a> <a href="https://www.blogger.com/null" name="_ednref11"></a> Whereas Roland Barthes proposes that “[w]oman is desexualized at the very moment when she is stripped naked”, Uman’s intervention suggests another possibility. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn12">[12]</a> <a href="https://www.blogger.com/null" name="_ednref12"></a> Her labour activates a viewer who “strains to see what is denied” and “is inexorably drawn to what is withheld”- namely, the pornographic female form as we know it. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn13">[13]</a> <a href="https://www.blogger.com/null" name="_ednref13"></a><br />
<i>Removed</i> is more than just a feminist intervention into the pornographic genre (although it is that, too). Rather than exposing what many believe to be the “essence of [mainstream] pornography – woman without substance”, Uman renders woman as substance, a powerful, pulpy, roiling presence. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn14">[14]</a> <a href="https://www.blogger.com/null" name="_ednref14"></a> In his work on ‘screendance’, Douglas Rosenberg introduces the term “recorporealisation”, writing that in order for a body to be recorporealised, it must first be decoporealised or stripped of its somatic and fleshly resonances through mediatisation. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn15">[15]</a> <a href="https://www.blogger.com/null" name="_ednref15"></a> Under Uman’s recorporealisation of her, the women of <i>Removed</i> become ‘untouchable’ – the male hands that attempt to stroke their bodies “simply sink into light”. <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn16">[16]</a> <a href="https://www.blogger.com/null" name="_ednref16"></a> Strangely, it is Uman’s abstinence from touching the whole bodies of her filmic women that renders them impervious to the male touch on-screen. Uman allows the bleach to do its work on the female figures, transforming them into skeins of light. Uman has said that she “wanted to see what would happen if [she] remove[d] the women” from her found footage, asking: “Would it still be pornography?” <a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/#_edn17">[17]</a> <a href="https://www.blogger.com/null" name="_ednref17"></a> In Uman’s film, however, the ‘erased’ body returns with a new and more powerful force. The body becomes hyper-visible as a relational and material-kinetic presence. What is manifested on-screen is the body’s kinetic twin; a double which both exceeds the body and originates from within.<br />
<strong>read further: </strong><br />
<strong>Hilary Bergen and Sandra Huber: </strong><a href="http://www.screeningthepast.com/2018/02/pornography-ectoplasm-and-the-secret-dancer-a-twin-reading-of-naomi-umans-removed/"><strong>Pornography, Ectoplasm and the Secret Dancer: A Twin Reading of Naomi Uman’s <i>Removed</i></strong></a><br />
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com1tag:blogger.com,1999:blog-9090164656735666067.post-23876294423228351882018-10-31T07:52:00.000-07:002018-10-31T08:53:59.089-07:00Stephen Broomer - Carousel Study (2016)<div dir="ltr" style="text-align: left;" trbidi="on">
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<strong><span style="font-size: large;">U svakom trenu sve može izgubiti tlo pod nogama ili upasti u tajanstveni tunel. Uspomene možeš stvoriti uz pomoć ogledala.</span></strong><br />
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<a href="https://vimeo.com/sbroomer"><span style="color: #3d85c6;">https://vimeo.com/sbroomer</span></a><br />
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<a href="https://www.stephenbroomer.com/film-and-video/"><span style="color: #3d85c6;">https://www.stephenbroomer.com/film-and-video/</span></a><br />
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A continuous 360-degree pan is host to shadows and changing light. Some hesitation. Insulation, concrete, and a wooden netting of walls. After a time the pan reverses. In layers it crosses itself. The shadows move against these time values. A light turns off in reverse. A tighter composition, still panning, rotates 360-degrees. The mechanism emits a gentle hum, which assumes chordal structures as it is sped and reversed. The only way this can end is suddenly. Made in the basement of my childhood home, summer 2016.<br />
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"While remaining true to the cinematic frame, Stephen Broomer’s <em>Carousel</em> uses both analogue and digital techniques to destabilize it. The work places smooth analogue and digital movement next to each other, with the camera panning around the room using a mechanical tripod head and with the image rotating around the centre of the screen using digital keyframing. In order to maintain the cinematic frame, the work distorts to reveal a frame anomaly hidden within the digital animation, further reinforcing the tension between analogue and digital animation. The work is a spatial study, reminiscent of Michael Snow’s <em>La Région centrale</em> (1971), only with a little toilet humour." Clint Enns, "The Frame is the Keyframe" (catalogue essay), 2016.<br />
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A waterfall cuts through the land along the Bruce Trail; birdsongs and a distant cloud; I stand in the shadow of an electric cross; a bow set in the cloud, a token of the covenant between god and man. Made at the Devil's Punchbowl conservation area, Hamilton, Ontario, March 2016. Made with the assistance of Daniel McIntyre. Thanks to Emmalyne Laurin and Lesley Loksi Chan. Film processed by Sylvain Chaussée at <a href="http://niagaracustomlab.com/" target="_blank">Niagara Custom Lab</a>; film scanned by Lianna Hillerup at <a href="http://framediscreet.com/home/" target="_blank">Frame Discreet</a>.<br />
Francesca Rusalen wrote <a href="http://emergeredelpossibile.blogspot.ca/2016/10/the-bow-and-cloud.html" target="_blank">this essay</a> in response to the film on October 18, 2016, for her website <a href="http://emergeredelpossibile.blogspot.ca/" target="_blank">L'emergere del possibile</a>.<br />
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<strong>SELECTED ESSAYS, REVIEWS, AND INTERVIEWS AS AUTHOR</strong></div>
"<a href="http://foundfootagemagazine.com/issue-4/" target="_blank">A Hummingbird in Reverse: On Richard Kerr's morning ... came a day early</a>," <em>Found Footage Magazine</em> 4 (2018). 116-119.<br />
"<a href="http://elumiere.net/asociacion/jeannettemuñoz.php" target="_blank">La Cultura-Regalo del Underground: 'Envios', de Jeannette Muñoz / The Gift Culture of the Underground: Jeannette Muñoz's Envios</a>," in Francisco Algarín Navarro (ed.), <em>Jeannette Muñoz: El paisaje como un mar</em>. Seville: Asociación Lumière, 2017. 122-128.<br />
"<a href="http://www.acuartaparede.com/volta-ao-tempo-a-restauracion-de-the-book-of-all-the-dead/?lang=es" target="_blank">Vuelta al tiempo: la restauración de The Book of All the Dead</a>," <em>A Cuarte Parede</em>, December 10, 2017.<br />
"<a href="https://www.stephenbroomer.com/s/Broomer-Northern-Densities.pdf" target="_blank">Northern Densities: a note on the Canadian underground</a>," <em>Hambre: Dossier intervalos aberrantes</em> (2017), 16-20.<br />
"<a href="http://www.lafuriaumana.it/?id=701" target="_blank">Strange Codes 04: Greg Curnoe's <em>No Movie</em> and <em>Connexions</em></a>," <em>La Furia Umana</em> 32 (2017).<br />
"<a href="http://www.uzak.it/rivista/uzak-27/speciale-crossroads/1103-a-road-outside-crossroads-2017.html" target="_blank">A Road Outside: Crossroads 2017</a>," <em>UZAK</em> 27 (2017).<br />
"<a href="http://www.lafuriaumana.it/index.php/64-issues/lfu-31/682-stephen-broomer-strange-codes-notes-for-the-preservation-of-the-canadian-underground-film" target="_blank">Strange Codes 03: R. Bruce Elder's Barbara is a Vision of Loveliness and Permutations and Combinations</a>," <em>La Furia Umana</em> 31 (2017).<br />
"<a href="http://blackflash.ca/strangemeetings/" target="_blank">Kyle Whitehead: Strange Meetings</a>," <em>BlackFlash</em> 34.2 (2017)<br />
"<a href="http://foundfootagemagazine.com/issue-3/" target="_blank">The Success and Failure of Arthur Lipsett</a>," <em>Found Footage Magazine</em> 3 (2017). 58-69.<br />
"<a href="http://www.lafuriaumana.it/index.php/archives/63-lfu-30/657-stephen-broomer-strange-codes-notes-for-the-preservation-of-the-canadian-underground-film-2" target="_blank">Strange Codes 02: John Hofsess's Palace of Pleasure</a>," <em>La Furia Umana</em> 30 (2017).<br />
"Following South," in Hoolboom & Enns (eds.), <em><a href="http://mikehoolboom.com/thenewsite/wp-content/uploads/2016/12/MadiBookonline.pdf" target="_blank">Shock, Fear, and Belief: The Films and Videos of Madi Piller</a></em>. Toronto: Pleasure Dome, 2016. 60-62.<br />
"Throwing Voices: Madi Piller and John Straiton," in Hoolboom & Enns (eds.), <em><a href="http://mikehoolboom.com/thenewsite/wp-content/uploads/2016/12/MadiBookonline.pdf" target="_blank">Shock, Fear, and Belief: The Films and Videos of Madi Piller</a></em>. Toronto: Pleasure Dome, 2016. 45-49.<br />
"<a href="http://elumiere.net/especiales/hancox/dewdneybroomer_en.php" target="_blank">Keewatin Dewdney: Interlocking Parts</a>," <em>Lumière</em>, November 2016.<br />
"<a href="http://www.lafuriaumana.it/index.php/62-archive/lfu-29/603-stephen-broomer-strange-codes-notes-for-the-preservation-of-the-canadian-underground-film" target="_blank">Strange Codes 01: R. Bruce Elder's Breath/Light/Birth</a>," <em>La Furia Umana</em> 29 (2016)<br />
"<a href="http://samizdatpress.typepad.com/hal_magazine_issue_nine1/john-hofsess-man-in-pieces-by-stephen-broomer-1.html" target="_blank">John Hofsess: Man in Pieces</a>," <em>Hamilton Arts & Letters</em> 9.1 (2016).<br />
"<a href="http://www.graphicalrecordings.com/variations/" target="_blank">Michael Snow: Gathering and Dispersing</a>" (liner note), <em>Variations</em> DVD compilation (Graphical Recordings 002, 2016).<br />
"<a href="http://blackflash.ca/alexandre-larose/" target="_blank">Alexandre Larose: The Lost Steps</a>," <em>BlackFlash</em> 33.1 (January 2016).<br />
"<a href="http://samizdatpress.typepad.com/hal_magazine_issue_eight2/nelson-ball-barbara-caruso-notes-of-home-by-stephen-broomer-1.html" target="_blank">Nelson Ball & Barbara Caruso: Notes of Home</a>," <em>Hamilton Arts & Letters</em> 8.2 (2015-16).<br />
"<a href="http://desistfilm.com/indivisible-river-films-by-pablo-marin/" target="_blank">Indivisible River: Films by Pablo Marín</a>," <em>Desistfilm</em>, August 17, 2015.<br />
"<a href="http://blackflash.ca/sabrina-ratte/" target="_blank">Sabrina Ratté: Surfaces in Space</a>," <em>BlackFlash</em> 32.3 (August 2015).<br />
"<a href="http://theseventhart.org/speaking-lightly-eva-kolcze/" target="_blank">Eva Kolcze: The Protagonist of Architecture</a>," <em>The Seventh Art</em>, May 25, 2015.<br />
"<a href="http://blackflash.ca/scott-fitzpatrick/" target="_blank">Scott Fitzpatrick: Look Back in Toner</a>," <em>BlackFlash</em> 32.2 (April 2015).<br />
"<a href="http://theseventhart.org/blake-williams-interview/" target="_blank">Blake Williams; Sightings in Stereo</a>," <em>The Seventh Art</em>, January 19, 2015.<br />
"<a href="https://cfmdcresidentscholar.wordpress.com/2016/02/10/the-elusive-present-chris-gallaghers-seeing-in-the-rain/" target="_blank">The Elusive Present: Chris Gallagher's Seeing in the Rain</a>" (liner note), <em>Angular</em> volume 1 DVD compilation (Angular 01, 2015).<br />
"<a href="http://theseventhart.org/clint-enns-interview/" target="_blank">Clint Enns: The Unfamiliar Messenger</a>," <em>The Seventh Art</em>, October 10, 2014.<br />
"<a href="http://stephenbroomer-blog.tumblr.com/post/89790821190/review-explosion-in-the-movie-machine-ed-chris" target="_blank">Review: Explosion in the Movie Machine</a>," <em>Public Journal</em> 49 (Spring 2014), 133-135.<br />
"Review: Mythogeography: A Guide to Walking Sideways," <em>Journal of Cultural Geography</em> 29.1 (2012), 129-131.<br />
"<a href="http://samizdatpress.typepad.com/fall_2011_hamilton_arts_l/r-bruce-elder-by-stephen-broomer.html" target="_blank">R. Bruce Elder: An Introduction</a>," <em>Hamilton Arts & Letters</em> 4.2 (2011-12).<br />
"<a href="https://www.stephenbroomer.com/s/Ghosts_and_Numbers_Directed_by_Alan_Kli.pdf" target="_blank">Review: Ghosts and Numbers</a>," <em>Visual Anthropology Review</em> 27 (May 2011), 103-105.<br />
"Practice in a Cemetery: The North Carolina Documentaries of Ross McElwee," in Andrew Leiter (ed.), <em>Southerners on Film: Essays on Hollywood Portrayals Since the 1970s</em>. Jefferson, NC: McFarland Press, 2011.<br />
"Even the Pictures Lie: The Unreliable Narrator in the Film Noirs of Edgar G. Ulmer," in Gary Rhodes (ed.), <em>Edgar G. Ulmer: Detour on Poverty Row</em>. Lanham, MD: Lexington Press, 2008.</div>
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<a href="https://vimeo.com/60811704">Memory Worked By Mirrors (2011)</a> from <a href="https://vimeo.com/sbroomer">Stephen Broomer</a> on <a href="https://vimeo.com/">Vimeo</a>.<br />
<strong>SELECTED ESSAYS, REVIEWS, AND INTERVIEWS AS SUBJECT</strong></div>
Ela Bittencourt, "<a href="https://mubi.com/notebook/posts/performing-the-past-reporting-on-the-fronteira-festival" target="_blank">Performing the Past: Reporting on the Fronteira Festival</a>," Notebook, May 30, 2018.<br />
Giorgiomaria Cornelio, "<a href="https://cameraardente.tumblr.com/broomer" target="_blank">The cinema as a healing light: interview with Stephen Broomer</a>," <em>La Camera Ardente</em>, February 21, 2018.<br />
Brian Howe, "<a href="https://www.indyweek.com/indyweek/unexposed-potamkin/Event?oid=11180179" target="_blank">Unexposed: Potamkin</a>," Indy Week, web, January 2018.<br />
Jeff Fedoruk, "<a href="https://canlit.ca/article/capital-broadcasts-culture/" target="_blank">Capital Broadcasts Culture</a>," <em>Canadian Literature: A Quarterly Review of Criticism and Review</em>, web, January 26, 2018.<br />
Tom Kohut, "<a href="http://www.cjc-online.ca/index.php/journal/article/view/3273/3453" target="_blank">Review: Hamilton Babylon: A History of the McMaster Film Board</a>," <em>Canadian Journal of Communication</em> 42:5 (2017).<br />
Brian Wilson, "<a href="http://filmint.nu/?p=23192" target="_blank">The Carriage Set Upright: Stephen Broomer on <em>Potamkin</em></a>," <em>Film International</em>, web, December 20, 2017.<br />
Jonathan Rosenbaum, "<a href="http://www.jonathanrosenbaum.net/2017/11/51918/" target="_blank">Potamkin (in more ways than one, a preliminary report)</a>," <em>jonathanrosenbaum.net</em>, November 26, 2017.<br />
Katia Houde, "Review: Hamilton Babylon: A History of the McMaster Film Board," <em>Public Journal</em> 56 (2017): 216-219.<br />
Ivonne Sheen, "<a href="http://desistfilm.com/muta-2017-potamkin-by-stephen-broomer/" target="_blank">Potamkin by Stephen Broomer</a>," <em>Desistfilm</em>, July 22, 2017. <a href="http://desistfilm.com/muta-2017-potamkin-de-stephen-broomer/" target="_blank">Spanish version</a>.<br />
Damián Bender, "<a href="http://cinedivergente.com/festivales/festivales-2017/s8-8a-mostra-de-cinema-periferico/potamkin-de-stephen-broomer" target="_blank">Potamkin: El Negativo Con Reflejo</a>," <em>Cine Divergente</em>, June 3, 2017.<br />
Elena Duque, "<a href="http://www.s8cinema.com/portal/en/2017/06/02/stephen-broomer-estrena-potamkin-s8/" target="_blank">Potamkin: Death of a Poet</a>," S8 Editorial, June 2, 2017.<br />
Brais Romero and Victor Paz, "<a href="http://www.acuartaparede.com/s8-mostra-de-cinema-periferico-nova-lexislatura/" target="_blank">(S8) Mostra de Cinema Periférico: Nova Lexislatura</a>," <em>A Cuarta Parede</em>, February 1, 2017.<br />
Matt Turner, "<a href="http://lwlies.com/articles/edge-of-frame-weekender-experimental-animation/" target="_blank">Is experimental animation on the rise?</a>" <em>Little White Lies</em>, December 21, 2016.<br />
Mike Hoolboom, "<a href="http://pdome.org/collaborating-on-a-mystery-an-interview-with-stephen-broomer-by-mike-hoolboom2016/" target="_blank">Collaborating on a Mystery: An Interview with Stephen Broomer</a>," <em>Pleasure Dome</em>, October 3, 2016.<br />
Valentina Dell'Aquila, "<a href="http://www.lafuriaumana.it/index.php/62-archive/lfu-29/611-valentina-dell-aquila-stephen-broomer-spirit-in-landscape" target="_blank">Stephen Broomer: Spirit in Landscape</a>," <em>La Furia Umana</em> 29 (2016).<br />
Brais Romero and Victor Paz, "<a href="http://www.acuartaparede.com/stephen-broomer-o-fillo-artistico-de-jack-chambers-e-michael-snow/" target="_blank">Stephen Broomer: O Fillo Artístico de Jack Chambers e Michael Snow</a>," <em>A Cuarta Parede</em>, August 8, 2016.<br />
Riva Symko, "<a href="http://lumaquarterly.com/issues/volume-two/005-summer/re-presentations-adaptations-and-variations/" target="_blank">Re-presentations, Adaptations, and Variations</a>," <em>Luma Quarterly</em> 5.2 (Summer 2016).<br />
Neil Young, "<a href="http://www.jigsawlounge.co.uk/film/reviews/coruna2016/" target="_blank">Report from the (S8) film festival, A Coruna</a>," <em>Tribune</em>, July 13, 2016.<br />
Andrea Franco, "<a href="http://cinentransit.com/s8-2016-vii-mostra-de-cinema-periferico/" target="_blank">Review: (S8) 2016 VII Mostra de Cinema Periférico</a>," <em>Transit: Cine y otros desvíos</em>, June 22. 2016.<br />
Graham Rockingham, "<a href="http://www.thespec.com/whatson-story/6733470-palace-of-pleasure-revisits-mcmaster-film-board-s-warhol-era/" target="_blank">Palace of Pleasure revisits McMaster Film Board's Warhol era</a>," <em>The Hamilton Spectator</em>, June 21, 2016.<br />
Fernando Solla, "<a href="http://cinedivergente.com/festivales/festivales-2016/s8-mostra-de-cinema-periferico-2016/stephen-broomer-los-nuevos-impresionistas">Stephen Broomer - Los nuevos impresionistas</a>," <em>Cine Divergente</em>, June 10, 2016.<br />
Chandler Levack, "<a href="http://www.tiff.net/the-review/the-mcmaster-film-boards-indelible-influence-on-hollywood-north/" target="_blank">The McMaster Film Board's Indelible Influence on Hollywood North</a>," <em>TIFF Review</em>, May 17, 2016.<br />
Matthew Levine, "Review: Wild Currents," <em>Found Footage Magazine</em> 2 (May 2016), 101-2.<br />
Jordan Cronk, "<a href="http://www.bkmag.com/2016/04/11/big-ears-2016/" target="_blank">Knoxville's Big Ears Festival, the Avant-Garde SXSW, Adds a Film Program</a>," <em>Brooklyn Magazine</em>, April 11, 2016.<br />
Wheeler Winston Dixon, "<a href="http://www.movingimagearchivenews.org/ecstatic-cinema-romantic-experimental-filmmaking-in-the-1960s/" target="_blank">Ecstatic Cinema: Romantic Experimental Filmmaking in the 1960s</a>," <em>Moving Image Archive News</em>, February 20, 2016.<br />
Wheeler Winston Dixon, "<a href="http://blog.unl.edu/dixon/2016/02/17/hamilton-babylon-a-history-of-the-mcmaster-film-board/" target="_blank">Preview: Hamilton Babylon</a>," <em>Frame by Frame</em>, February 17, 2016.<br />
With Kyle Whitehead, "<a href="http://lumaquarterly.com/issues/2015/002-fall/double-visions-stephen-broomer-and-kyle-whitehead-in-conversation/" target="_blank">Double Visions: Stephen Broomer & Kyle Whitehead in Dialogue</a>," <em>Luma Quarterly</em> 2.1 (Fall 2015).<br />
Tyler Tekatch, "<a href="http://samizdatpress.typepad.com/hal_magazine_issue_eight1/the-transformable-moment-the-films-of-stephen-broomer-reviewed-by-tyler-tekatch-1.html" target="_blank">Review: The Transformable Moment</a>," <em>Hamilton Arts & Letters</em> 8.1 (2015).<br />
Kyle Whitehead, "<a href="https://issuu.com/csif_calgaryfilm/docs/apwinter2015_web">Present Act & Past Event</a>," <em>Answer Print</em>, Winter 2015, 7-10.<br />
Brett Kashmere, "Magic: The Gathering, or, Spirits in Season" (liner note), <em>Angular</em> volume 1 DVD compilation (Angular 01, 2015).<br />
Kate Russell, "<a href="http://samizdatpress.typepad.com/fall_winter_hamilton_arts/stephen-broomers-championship-by-kate-russell-1.html" target="_blank">Stephen Broomer's Championship</a>," <em>Hamilton Arts & Letters</em> 6.2 (2013-14).<br />
Noel Murray, "<a href="https://thedissolve.com/features/short-cuts/264-two-short-films-highlight-avant-garde-tourism/" target="_blank">Two short films highlight avant-garde tourism</a>," <em>The Dissolve</em>, November 9, 2013.<br />
Samuel La France, "<a href="http://cinema-scope.com/cinema-scope-online/tiff-2013-postscript-wavelengths-2-now/" target="_blank">TIFF 2013 Postscript</a>," <em>Cinemascope</em>, September 20, 2013.<br />
Jordan Cronk, "<a href="https://www.fandor.com/keyframe/tiff13-wavelengths-shorts" target="_blank">TIFF13: Wavelengths Shorts</a>," <em>Fandor Keyframe</em>, September 12, 2013.<br />
Daniel Kasman, "<a href="https://mubi.com/notebook/posts/tiff-2013-correspondences-5" target="_blank">Notebook: TIFF 2013. Correspondences #5</a>," <em>MUBI Notebook</em>, September 12, 2013.<br />
Michael Sicinski, "<a href="https://mubi.com/notebook/posts/tiff-2013-wavelengths-experimental-films-the-shorts-and-the-mediums" target="_blank">Notebook: TIFF 2013. Wavelengths Experimental Films -- The Shorts and the Mediums</a>," <em>MUBI Notebook</em>, September 8, 2013.<br />
Jacqueline Valencia, "<a href="http://nextprojection.com/2013/09/07/tiff-2013-interview-stephen-broomer-peppers-ghost-world-premieres-september-7th/" target="_blank">Stephen Broomer on Pepper's Ghost</a>," <em>Next Projection</em>, September 7, 2013.<br />
Jacqueline Valencia, "<a href="http://nextprojection.com/2013/09/06/tiff-2013-review-peppers-ghost-2013-np-approved/" target="_blank">Review: Pepper's Ghost</a>," <em>Next Projection</em>, September 6, 2013.<br />
Mark Mann, "<a href="http://ca.blouinartinfo.com/news/story/955238/experimental-filmmaker-stephen-broomer-haunts-tiff-in-peppers">Experimental Filmmaker Stephen Broomer Haunts TIFF with Pepper's Ghost</a>," <em>Blouin ArtInfo</em>, September 6, 2013.<br />
Clint Enns, "<a href="http://incite-online.net/broomer.html" target="_blank">Rituals in Transfigured Space: Interview with Stephen Broomer</a>," <em>INCITE: The Journal of Experimental Media</em>, September 4, 2013.<br />
Jason Anderson, "<a href="https://www.artforum.com/film/id=21887" target="_blank">Lost and Found: John Hofsess's Palace of Pleasure</a>," <em>ArtForum</em>, January 22, 2009.</div>
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com2tag:blogger.com,1999:blog-9090164656735666067.post-12069729223854242032018-10-31T06:39:00.001-07:002018-10-31T06:39:09.371-07:00Simon Meek - Beckett<div dir="ltr" style="text-align: left;" trbidi="on">
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<img alt="Review of Beckett, the game" class="aligncenter size-full wp-image-93542" height="359" sizes="(max-width: 500px) 100vw, 500px" src="https://i1.wp.com/www.3ammagazine.com/3am/wp-content/uploads/2018/08/beckett-game-1.jpg?resize=500%2C281&ssl=1" srcset="https://i1.wp.com/www.3ammagazine.com/3am/wp-content/uploads/2018/08/beckett-game-1.jpg?w=500&ssl=1 500w, https://i1.wp.com/www.3ammagazine.com/3am/wp-content/uploads/2018/08/beckett-game-1.jpg?resize=300%2C169&ssl=1 300w" width="640" /><br />
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<strong><span style="font-size: large;">Priča u obliku video-igre, nadahnuta Beckettom, Burroughsom i Švankmajerom.</span></strong> <strong><span style="font-size: large;">Omajgad!</span></strong> <strong><span style="font-size: large;">Kad bih još samo imao strpljenja za igranje.</span></strong></div>
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<strong>Simon Meek, <em>Beckett </em>, Developed by </strong><a href="http://www.thesecretexperiment.co.uk/" rel="noopener" target="_blank"><strong>The Secret Experiment</strong></a><strong>, Kiss Publishing</strong></div>
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<a href="https://tsebeckett.blog/"><strong>https://tsebeckett.blog/</strong></a></div>
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<a href="http://www.thesecretexperiment.co.uk/"><strong>http://www.thesecretexperiment.co.uk/</strong></a></div>
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What is <a href="https://tsebeckett.blog/author/mysecretexperiments/" rel="noopener" target="_blank"><em>Beckett</em></a>? <em>Beckett</em> is, designer Simon Meek says, “a literary work of fiction”. Its experimental alembic is that of a videogame. It is influenced textually and in spirit by, of course, Samuel Beckett, by William Burroughs and, visually, by Jan Švankmajer. I am not a gamer—what drew my interest were the connections to writers who are part of my personal canon. That the game was being featured by the V&A Dundee’s design exhibition (https://www.vandadundee.org/news-and-blog/blog/simon-meek–designing-playable-stories) suggested that its graphic content might have more to it than the quasi-realistic or filmic iterations of the medium. I’m not a gamer—but I <em>am</em> interested in multi-platform stories: using prose, film, photography and graphics to tell a single story that allows for tangents.<br />
On his blog, Meek states that, “<em>Beckett</em> is a story told as a game.” Its underlying theme, he says “is the nature of reality and what it is to exist… We’re all reality fragments in other people’s mental reconstruction of an event. We’re all part of an existential jigsaw: real in the moment, abstract in absence.” The visual aesthetic of the game is cut-up, collage, Dada. The development company, The Secret Experiment, calls the game Surrealist Noir.<br />
<em>Beckett</em> tells its story through text, image, film and the in-game choices made by the player. Beckett is a “trace-agent”, a kind of private detective in search of a missing person in the city of Burough. The dystopian world in which Beckett lives is not too distant in time and circumstance from our own, a parallel world. The player discovers the details of the shadowy city as they negotiate its streets, bars, markets, restaurants, hospitals and building sites. It’s a world of societal inequality with a precariat surviving day to day under government systems of thought control, surveillance, media manipulation and medication for those who suffer from Soft Paranoia. If you stop taking the meds for your Soft Paranoia, the controllers might want to bring you in. The game plays with the mental state of the player who is piecing together the story in response to the images, soundscapes and the fragmentary texts; and the gamer will soon discover that Beckett is none too mentally stable himself. In moments of pause, Beckett encounters manipulative newspaper stories that appear through Burroughs-style cut-ups. The designer has taken a disturbing and superficially bleak (read contemporary) scenario and, through it, reveals very human responses of people trying to connect with each other or just to get by. Game choices made by the player may seem to lead nowhere but they all expose the fabric of the world.<br />
The background graphics for the city streetmaps are elegant and simple, for the most part in sepia. Against these backdrops, the discoverable detritus is made up of posters, scribbled notes, pamphlets for real estate, medical texts, creatures in decay, boxes like the constructions of Joseph Cornell, and archival medical films. Some of this is relevant to Beckett’s search, but all of it is relevant to his state of mind. Meek has produced the graphics and constructed the physical objects in the game, as well as composing the dark soundscape within which the city unfolds. The world is multi-layered. Stories overlap. In graphic novel sections, the story breaks into colour. Visually, the simplicity facilitates a gateway for the imagination to invent a world as with a book, rather than through elaborate cinematic reconstructions of a world in the vein of Grand Theft Auto or World of Warcraft. <br />
Like an old-fashioned boardgame – Monopoly pieces that have escaped from the lunatic asylum – each character Beckett encounters is represented by a symbol – insect, coffee pot, jeweled brooch, lipsticked mouth, seashell – which leaves the player free to invent appearance and the sound of verbal exchanges in much the same way as reading a literary text. The verbal exchanges are often via typewritten text or graphic exposition. Some of the character symbols suggest creatures from David Cronenberg’s adaptation of William Burroughs’ <em>Naked Lunch</em>, or Kafka’s <em>Metamorphosis</em>, or scenarios from the creepy close-up bug scenes captured in early David Lynch.<br />
Beckett the trace agent is searching for Peri, a young man who is mentally ill. Peri has stopped taking his medication for the Soft Paranoia that afflicts those who have broken down under the dystopian pressure. Looking for Peri, Beckett gets lost in memory, speculation, contemplation of his own existential horror and grief at the loss of his lover, Amy, and both of his parents. When Beckett’s investigations take him into The Hospital, the domain of a character known as The Reality Principal, the environment becomes seriously disturbing. The Reality Principal is a psychotropic nightmare, a bureaucratic mind controller charged by the government of Borough to control the minds of its citizenry through drugs, lobotomy and electroshock treatments. On the way through The Hospital to the Reality Principal’s office, it’s possible to look in on the activities in a number of operating theatres and laboratories. The designer has peppered the journey with literary references and leaves room for the player’s own correspondences; pointing and clicking on each room opens up film clips, some of them reminiscent of the movie version of J.G. Ballard’s <em>The Atrocity Exhibition.</em> Memories of the horrific subterranean hospital in Kobo Abe’s <em>Secret Rendezvous</em> also came to mind<em>. </em>There are some seriously disturbing discoveries to be made in the hospital, perhaps the most intense part of the game. Another Burroughs link I made is that with <em>Blade Runner – A Movie</em>, not the <em>Blade Runner</em> of Ridley Scott, but Burroughs’ caustic look at the medical industry.<br />
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One of the more interesting aspects of the game is that the player is sometimes required to make ethical choices, all of which have consequences for the direction of the story and the player’s experience of the world. Beckett is a trace agent. He’s been charged to track down a young man who has stopped taking his medication. The boy’s mother is marked for elimination. How much is Beckett prepared to be party to that? Is this a game? Is this a manipulation? After playing once, I began a conversation via email with Simon Meek, <em>Beckett’</em>s designer. I told him that I’d gotten stuck a couple of times and when I felt that I’d missed something it wasn’t easy to go back. He replied, “I wanted a sense of determinism in the game and the way it was played – a frustration that is often felt in life. The narrative is designed to ensure that anything you miss will be addressed in a different way – so by missing something you may find something else as a result… This idea of a dynamic narrative is something I’m really into. The idea that while the story may be fixed, the path through it and the way the world responds to you isn’t.”<br />
I went on and found my way to the end, or at least to one of the possible ends. The decisions that the game-player makes cause the story to squirm under the influence of the choices they make. As each decision can take the characters in a different direction so the player can return to the game to discover more… or to get stuck again… but having traversed a different path in which new discoveries are made.<br />
There is a lightness to the names of the characters juxtaposed with the realism of their dark psychologies: Beckett’s anomie tempered by anguish for his lost love, Amy; Amy’s mental condition and how that has affected her behaviour toward Beckett; the traumatised psychological states of the missing Peregrine and the woman with whom he’s in love, Joan (a reference to Joan Vollmer, perhaps?). The literary fictive aspect of <em>Beckett</em> is sustained by genuine psychological insight into mental illness and how each character’s mental state (and that of the player) is in turn is affected by the dystopian milieu of the city of Borough. Again the question: What is <em>Beckett</em> exactly in literary terms? Perhaps a novella in game form. The prose is fragmentary and enigmatic and it works in tandem with image to create its effect. The interiority triggered by experience of the game undermines straight narrative and in places can evoke as much deep unease as a literary novella of psychological horror in the vein of Edgar Allan Poe but with more than a nod to William Burroughs.<br />
As a multi-platform literary narrative, <em>Beckett</em> is a successful prototype for a hybrid literary/graphic form that has substantial artistic potential in its combination of text, image, film, found objects, movement and music. Its pared-down style leaves the user’s imagination as free as when reading a work of literature. It is fragmented in that it’s constructed from cut-ups and found objects. It’s a collage. It works as a piece of Dadaist art. Beckett, the game, doesn’t compromise by aiming for some kind of “digital realism” or filmic virtuality. It is literary and visual. It has more in common with George Braque and Cubism than with a narrative driven comic book.<br />
After having played the game a number of times, there’s still more to uncover in the world of <em>Beckett</em>. Possibly, a player who is familiar with the conventions of gaming could discover more of that world in a shorter time than someone like me who is completely unfamiliar with the form. But perhaps unfamiliarity with the gaming genre is no disadvantage. That inexperience didn’t undercut—maybe even enhanced—the pleasure and the discomfort of a reading of the game as text, the intimation of infinite possibilities of a literary artefact as game and the game as literary artefact. - <strong>Des Barry</strong> <br />
<a href="https://www.3ammagazine.com/3am/beckett-videogame-as-literary-artefact/">https://www.3ammagazine.com/3am/beckett-videogame-as-literary-artefact/</a></div>
zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-91268662702300670392018-10-30T10:33:00.001-07:002018-10-30T10:33:04.728-07:00Yoshihiko Matsui - Noisy Requiem (1988)<div dir="ltr" style="text-align: left;" trbidi="on">
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<a href="http://fakecriterions.tumblr.com/image/10440760244"><img alt="primolandiapro:
“ Yoshihiko Matsui’s Noisy Requiem (1988)
松井良彦『追悼のざわめき』
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<strong><span style="font-size: large;">Čovjek je beketovski <em>mehanizam</em> za razmnožavanje, to smo znali. I da je ljubav okrutnija od smrti. Ali kad to spojiš zajedeno... </span></strong><br />
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<em>The Noisy Requiem</em> revolves around Makoto Iwashita, a homeless serial killer who murders young women so that he can harvest their reproductive organs. He collects these visceral mementos so he can stuff them in the belly of his lover, the model woman of his desire, a mannequin. Makoto lives on the roof of an abandoned tenement building with his wooden mistress, making love to her through a makeshift vagina. The organs he acquires are to ensure that she can bear his child, which she eventually does until tragedy falls upon their happy home. The film follows Makoto through his daily routine: feeding some pigeons, decapitating them, finding some other chicks to murder and maim, and landing a job as a sewer scooper for a pair of incestuous midget siblings. We are also introduced to an older vagabond who carries with him a severed tree trunk that looks remarkably like a woman’s torso. The rest of the film’s inhabitants are the actual people who live in Shinsekai, floating in and out of the periphery like ghosts in a forgotten district of hell.<br />
All of this happens within the first ten minutes of the film. Not a single word of dialogue has been spoken, aside from the few monosyllabic grunts here and there. Makoto practically melts into the background, a killer in plain sight, completely ignored by everyone around him. We then cut to a scene at the park, where two young schoolgirls watch some busking war veterans beg for change. One of the girls tells her friend of the dream she had the night before. In it she watches a pure white dove compete for breadcrumbs. As the bird struggles for each scrap of food, it begins to transform into a black crow, as the breadcrumbs become human remains. As the girls give the buskers some money, she explains that it was only natural for the dove to become a crow, for out of desperation to find happiness we all lose our innocence. These are some pretty profound words coming from the mouths of a couple of kids just shooting the shit in the park. But the film’s director, Yoshihiko Matsui, has clearly defined where Makoto is coming from and where he will inevitably go. All the film’s crows are that way out of necessity — still desperately searching for attention and love in a society that has abandoned them.<br />
<i>The Noisy Requiem</i> is very much a product of Japanese cinema in the 1980s. The era marked the beginning of the end of an era that encouraged and supported innovative filmmaking, and the beginning of the next generation of underground filmmaking — one born out of necessity and circumstance.<br />
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The great radical masters of the previous decades — Nagisa Ôshima, Shôhei Imamura, Shûji Terayama, Hiroshi Teshigahara, and Kazuo Kuroki — had been assimilated and spat out by the mainstream studios, some of them producing their swan songs before fading away, unnoticed and unappreciated. The Art Theater Guild of Japan, which had fostered independent filmmakers, producing many groundbreaking films throughout the sixties and seventies, was getting out of production altogether. Only a handful of films came out of the ATG before it closed up shop in the mid-80s. But by this point the country’s major studios were already flailing in a bone-dry creative pool. The majors had co-opted the themes and visual styles from underground cinema, sanitized it for mainstream audience consumption and left the masters behind; at the same time, the studios were moving towards a vertically integrated system that would force independent producers like ATG out of business.<br />
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Out of the collapse of the ATG came a new movement that favored a more DIY approach to filmmaking. Driven by Japan’s growing underground punk music scene, young filmmakers took the cheapest route available: 8mm (Japan continued using single gauge 8mm film long after Super 8 was introduced in the West). Yoshihiko Matsui emerged from this tradition along with Sogo Ishii, both film students at Nihon University. Sogo Ishii would quickly gain a name for himself with the growing v-cinema boom and cyberpunk movement that took off at the start of the decade. Ishii’s <i>Panic High School</i> and <i>Crazy Thunder Road</i> were all completed while the director was still in film school and are all considered required viewing by hardcore fans of the movement. Matsui Yoshihiko worked closely with Ishii during this time and acted as Assistant Director for most of Ishii’s early films. In turn Ishii shot Matsui’s debut feature <i>Rusty Empty Can</i> and his sophomore effort, the elegantly titled, <i>Pig Chicken Suicide.</i><br />
Matsui’s next film was <i>The Noisy Requiem</i>. It wasn’t completed until several years after <i>Pig Chicken Suicide</i>, and it took a while for a distributor to pick it up. It was not merely Matsui’s finest film, but his most distinctive, an evolutionary step beyond his previous films, which owed much to the style of his partner-in-crime Ishii Sogo. Since the cyberpunk movement was gaining popularity, <i>The Noisy Requiem</i> became an immediate underground success, but it evaded critical attention at home and abroad. The reviews that it did get were polarized, and focused mainly on its disturbing plot points and characterizations. Its stark black-and-white, hand-held 16mm photography add to its already unnervingly naturalistic feel; there is a strong sense of immediacy to the film. Yet there is still a feeling of timelessness. At points it feels like a documentary that slips into moments of madness and sublime expressionism. Perhaps the film was ignored because of its setting in a homeless community of Kamagasaki, Shinsekai in Osaka. To this day, the Japanese government has still maintained the absurd claim that there are no homeless people in Japan, an idea that immediately falls apart if you’ve even been to any city in the country; a collective national urge to ignore the guy who scored a refrigerator box for the night could explain why a film like <i>The Noisy Requiem</i> went largely unnoticed.<br />
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As Johannes Schönherr (at Midnight Eye) already pointed out, the first ten minutes of <i>The Noisy Requiem</i> firmly establish Matsui’s worldview and, with Shakespearean bravado, foreshadow its unavoidable outcome. From the moment our schoolgirls leave the frame the film takes a derisive turn in many stylistic directions. Makoto soon enters the scene to accost the two buskers. Matsui suddenly walks away from the action before the argument culminates into violence. Matsui’s camera spastically revolves around the park, coming full circle to the action as Makoto starts beating the crap out of the handicapped veterans. Makoto represents the blackest of crows in our already pitch-black aviary. But as Matsui will soon reveal, the depths of his obscene depravity are matched only by his obsessive devotion.<br />
As the film continues we are introduced to our two white doves: a beautiful young couple dressed in white. We never learn their names or how they ended up in Shinsekai, but we immediately recognize that they are innocent, and very much in love. Matsui overexposes the scene so that the characters are surrounded by pure white light, erasing everything else around them. They are never referenced within the film and never speak throughout their transformation, their transformation to hungry black crows, pecking at the rest of the dead. At first it seems as though this couple is meant to contrast Makoto’s black crow, but as the film progresses we witness our white dove’s fall from grace, driven by the boy’s lust for the girl. As hard as they try to maintain their innocence, their environment ultimately corrupts them. By showing the couple unable to resist temptation, Matsui only strengthens Makoto’s purity in his devotion to his mannequin. His love for her is real enough, and there is no distraction from his loyalty to her.<br />
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There is no question that Makoto’s love for his mannequin is pure. We see how they first met, the moments they share together, cleaning her, tending to her, protecting her, and killing for her. This is all shown in such a way that we cannot help but empathize with Makoto. In a style usually reserved for romantic melodramas, Makoto dances with her as the camera revolves around them, with pools of filth glimmering around them in the moonlight. Later in this scene Makoto confesses his hatred for the world around him. Like Travis Bickle in <i>Taxi Driver</i>, Makoto is waiting for the cleansing rain to wash away the dirty streets and disgusting people he sees outside of Shinsekai. Matsui’s seems to share Makoto’s view of morality in Shinsekai and of the outside world.<br />
Matsui defends Makoto as an honorable character, but like everyone in the film, his obsession will only lead to ruin. There is no other outcome for these poor souls, and each will meet their own grisly death. Everyone is desperately clinging to whatever they can in a place that has forsaken them, and Makoto’s rooftop home offers a place for them to indulge in their passion. But saying that the characters lack any moral compass is problematic once Matsui shows how people act in “the outside world.” Matsui portrays normal society as something equally disgusting, and in some scenes he simply hides his camera and records the reactions of “normal society” to his characters. In another scene a busload of senior citizens bust out laughing when a midget woman falls over (twice). Although this scene was clearly staged, it doesn’t paint a pretty picture of a supposed moral society. Matsui doesn’t condone Makoto’s actions, but it is clear that Matsui considers him noble in his dedication to his mannequin.<br />
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Most recent reviews of the film are quick to call Matsui’s style nihilist and disturbing, and certainly after reading the above synopsis you would probably agree. Matsui’s guerilla filmmaking approach reinforces that kind of reading, especially since much of the film was clearly shot without permits or permission. Matsui actually set the roof of a building on fire near the film’s climax, and then snuck away to a neighboring building to film the fireman and cops sniff around the remains of Makoto’s makeshift home. Matsui’s complete disregard for linear storytelling offers a glimpse into the reality of Kamagasaki, often leaving characters behind while the camera walks up and down the street showing the real inhabitants going about their lives. Flawlessly edited, the cinematography flows effortlessly from vérité to dream-like fantasy, kinetic and visually abstract. But also slow paced, lingering on beautifully composed moments of horror and misery, as well as love and desire. Some viewers might avoid the film because of the described violence, or others may have high expectations to see some crazy J-style weirdness. <i>The Noisy Requiem</i> stands apart from most genre classifications, and certainly should not be lumped together with other v-cinema cyberpunk films of that period. The violence is disturbing, but it is never graphic or fetishized. It is a deeply personal film, made with compassion for it’s subject matter and an understanding of what innovative cinema can be. Like many of his mentors from the ATG, Matsui was able to evoke the spirit of his generation while maintaining his own unique vision. Having a film like <i>The Noisy Requiem</i> in the Criterion Collection would give Matsui the recognition he deserves, and would allow the Western world to see one of the most important independent films to come out of Japan since the fall of the Art Theatre Guild.<br />
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<em>- </em><strong>Robert Nishimura</strong></div>
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<a href="http://www.indiewire.com/2011/09/three-reasons-the-noisy-requiem-directed-by-yoshihiko-matsui-132788/"><span style="color: #3d85c6;">www.indiewire.com/2011/09/three-reasons-the-noisy-requiem-directed-by-yoshihiko-matsui-132788/</span></a></div>
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Osaka still has some exquisitely dirty corners that have successfully resisted all urban clean-up campaigns. Of course, to Tokyo-ites the whole city may seem untidy and virtually all its inhabitants may come off as particularly rude folk. Well, Osaka is an old hustle-and-bustle merchant city and the customs are a bit different there from the capital, with all its masses of government bureaucrats. But there are some areas where even tough-mouthed Osakans rarely venture. Take Shin Sekai, for example. It translates as "New World", and that's exactly what it once was supposed to represent. Various grand-scale EXPO-like events were staged there in the late years of emperor Meiji (that means in the 1910s) and the Tsutenkaku Tower, a sort of smaller version of the Eiffel Tower, is still the major landmark of the area, dating back to those times when a young and hungry Japan was challenging the world.<br />
To build all those grand monuments of a rapidly modernizing Japan, large numbers of day laborers were drafted in, and most of them ended up staying on... slowly turning the "New World" into their world. Today, the Kamagasaki neighborhood of Shin Sekai is Japan's biggest homeless area and the closest thing Japan has to an actual slum area. The rest of Shin Sekai either turned to the red-light business or remained trapped and frozen in time. Walking through the shopping arcades there today with their cheap and trashy thrift stores and plethora of drinking outlets is like stepping back in time... like entering the movies and going straight back to 1962 at one corner or to 1973 at another. Never back to a happy past, though, but back to a desperate post-war Japan mired in poverty.<br />
This area is the setting and location of <a href="http://www.midnighteye.com/interviews/yoshihiko-matsui/" title="Midnight Eye interview: Yoshihiko Matsui">Yoshihiko Matsui</a>'s radically nihilist Noisy Requiem. This black and white movie opens with a freeze frame of the main character Makoto (Kazuhiro Sano) walking straight through the homeless ghetto of Kamagasaki. The freeze-frame springs to life, and he walks absent-mindedly towards the camera. Cut to him feeding pigeons in the park, then taking out a claw-hammer and killing a bunch of them. Whistling, he lays down on a park bench and rips the heads off the dead birds. Shots of ghastly homeless shuffling through Kamagasaki, shots of Makoto killing women in dirty backlots next to busy railway lines, cutting organs out of their bellies and stuffing them in a garbage bag. Makoto and a mannequin doll on the rooftop of the abandoned warehouse where he lives. He cuts the mannequin a vagina and stuffs the bloody entrails of the murdered women in there.<br />
We are still right at the beginning of the movie at this point, and not a line of dialog has been spoken. The first spoken lines come from two uniformed schoolgirls who wander through the park where Makoto has killed the pigeons.<br />
While they sit down near two blind war veteran buskers, one of them tells her previous night's dream to the other. There was a boy feeding pigeons, she says, and there was one white pigeon that couldn't get any of the grain because the many other grey pigeons constantly got in its way. So, the white pigeon turned black ... it became a crow. Suddenly the scenery changed, she explains, crows fed on thousands of dead people. The white pigeon that had turned into a crow joins in. The girl walks over to the buskers and gives them some money, then continuing: "Everybody turns into a crow when they're hungry."<br />
Now, this is the key line of the movie. All characters in the film are desperately hungry for something humane: mainly for love but for some characters a little bit of tender attention or at least some basic form of acceptance will do. Being constantly denied any of this, they all turn into vicious crows. Or rather, extremely troubled humans. Shortly after the girls leave, Makoto enters the scene. He insults the busking war veterans and questions the war credits they claim, accusing them of being "lazy Koreans" who "did nothing during the war". He gets his claw hammer out and ... well, I'm not going to describe the scene. You've got to watch it. Interesting thing is, though, that Makoto comes off at that moment as an extreme Korean-hating fanatic. In fact, later moments in the movie suggest that he is more likely to be a closet Korean himself.<br />
The plot continues with Makoto getting a job as an underground sewage line cleaner, working for an incestuous brother-sister midget couple. He is wildly in love with the mannequin he has stuffed with the organs of the women he had killed - in order to give it the means to bear his child. A crazy, sex-starved bum who takes advantage of the same mannequin when Makoto is not around will meet a gruesome fate in a particularly memorable scene.<br />
In short, virtually everybody who shows up in the movie has already reached the end of the line in some respect at the point at which they are introduced... they had already been transformed from the virgin white pigeons to the black crow. But from the moment they appear, things get invariably worse for all of them. Death is the only way out and death doesn't come easily in this film.<br />
Add to that the rough guerilla street-level b&w photography done right in the midst of the Kamagasaki homeless area and a cast that includes a host of truly bizarre characters played by unknown but terribly convincing actors and you got a movie that looks like its emerged straight out of hell. And with guerilla filmmaking I mean guerilla filmmaking: I don't know about any other Japanese filmmaker who would have a character of his film setting the entire rooftop of an abandoned building right in the middle of the city on fire, obviously without any permission, film it from a neighbouring rooftop, then sneak back and shoot the unsuspecting firefighters as they are dealing with the inferno.<br />
When writer-director Yoshihiko Matsui finished his script, nobody thought there would be any way of transferring those typed pages into actual images on celluloid. By that time, in 1983, Matsui had already been a member of <a href="http://www.midnighteye.com/books/unspeakable-acts-the-avant-garde-theatre-of-terayama-shuji-and-postwar-japan/" title="Midnight Eye book review: Unspeakable Acts: The Avant-Garde Theatre of Terayama Shuji and Postwar Japan">Shuji Terayama</a>'s radical avant-garde theater group for a few years. Terayama, himself no stranger to controversy over his works (especially his ground-breaking film Emperor Tomato Ketchup from 1971) and generally being considered one of most provocative Japanese artists of the time, commented: "It would be a scandal if this script were actually to be made into a motion picture."<br />
Matsui, however, had an extensive background in no-holds-barred filmmaking and he had heard the word "impossible" too many times before to be bothered by such comments. He had been a founding member of Kyo-eisha, the filmmakers' group led by <a href="http://www.midnighteye.com/interviews/sogo-ishii-2/" title="Midnight Eye interview: Sogo Ishii">Sogo Ishii</a> when he started out as a film student making punk rock biker movies in the 1970s. Matsui worked as assistant director on quite a number of those early Ishii adrenaline overflow adventures, like on his 1976 <a href="http://www.midnighteye.com/reviews/panic-high-school/" title="Midnight Eye film review: Panic High School">Panic High School</a> and his roller-coaster biker battle pic <a href="http://www.midnighteye.com/reviews/crazy-thunder-road/" title="Midnight Eye film review: Crazy Thunder Road">Crazy Thunder Road</a> (1980). Ishii himself was the director of photography on Matsui's first own production Rusty Empty Can (1979). Matsui's second film, Pig-Chicken-Suicide (1981) was a painful examination of a failed love story between a Zainichi boy and girl. Though graphic in the details (lots of animal butchery) and featuring a final scene of the girl masturbating in her room to Emperor Hirohito's speech announcing Japan's surrender in the Pacific War while the boy is spying on her before being blown off her veranda by a rainstorm, Pig-Chicken-Suicide was a rather experimental film, requiring a very sober and focused mind to make sense out of what actually happened on screen. Very different from Ishii's high-speed works but somewhat closer to Terayama's often mysterious experiments.<br />
With Noisy Requiem, Matsui finally found his own unique voice: slow-paced, intense, cruel, and telling a tale of epic proportions. It took him 5 years to realize the movie but when it finally premiered in 1988, it became an instant success on the Japanese underground scene. Punk rockers and other outsiders especially could easily identify with the characters prompted into vicious acts after repeated rejection, and their numbers were big enough to turn the film into a (modest) financial success. The movie still shows up occasionally on the Japanese underground cinema circuit and it still has plenty of hard-core fans.<br />
It didn't make it on the international level, however. Matsui had a couple of bad run-ins with international film festival programmers and subsequently refused to have the film shown outside of Japan. The only exception he granted was to a very limited run as part of a "Japanese Cult Film" series originating in Copenhagen in early 1998 and subsequently shown in various cities in Germany and at the Oslo Film Huset.<br />
Despite the success of Requiem, Matsui has not been able to pull off any major work since the completion of that film. But he is back at work right now, preparing his own cinematic interpretation of Natsume Soseki's classic novel I Am a Cat. Lacking major backers, this film will presumably also be shot on a shoestring budget. To finance the new project, Matsui has to get innovative about financial resources... and that may turn out to be a good thing. - <a href="http://www.midnighteye.com/contributors/johannes-schonherr/" rel="tag"><strong>Johannes Schönherr</strong></a><br />
<a href="http://www.midnighteye.com/reviews/noisy-requiem/"><span style="color: #3d85c6;">http://www.midnighteye.com/reviews/noisy-requiem/</span></a><br />
<a data-cthref="/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwi_2Ljx2K7eAhVLZ8AKHbyQAswQjRx6BAgBEAU&url=https%3A%2F%2Fjamesriverfilm.wordpress.com%2F2016%2F06%2F26%2Fyoshihiko-matsuis-the-noisy-requiem%2F&psig=AOvVaw315xVANaAVqkCVJSlUVwRE&ust=1541007010686314" data-ved="2ahUKEwi_2Ljx2K7eAhVLZ8AKHbyQAswQjRx6BAgBEAU" href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwi_2Ljx2K7eAhVLZ8AKHbyQAswQjRx6BAgBEAU&url=https%3A%2F%2Fjamesriverfilm.wordpress.com%2F2016%2F06%2F26%2Fyoshihiko-matsuis-the-noisy-requiem%2F&psig=AOvVaw315xVANaAVqkCVJSlUVwRE&ust=1541007010686314" id="irc_mil" jsaction="mousedown:irc.rl;focus:irc.rl;irc.il;" style="border-image: none; border: 0px currentColor;"><img alt="Image result for Yoshihiko Matsui - Noisy Requiem (" height="388" id="irc_mi" src="https://jamesriverfilm.files.wordpress.com/2016/06/noisy_requiem03.jpg?w=530&h=763" style="margin-top: 0px;" width="270" /></a><br />
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Somewhere around the late 90's the image of Japanese film began to change. For years before that the term "Japanese film" would bring to mind the top-knotted samurai of Kurosawa and the serene, sad interiors of Ozu. The farthest into darker and more existential territory most mainstream European and North American audiences would venture might be the critically-lauded films of Hiroshi Teshigahara, typified by his 1964 film "Woman in the Dunes". Then come the 90's a whole new batch of films and film-makers began to emerge from Japan's independent and V-cinema scene that would drastically change the perception of Japanese film and the people who seek it out. People like Shinya Tsukamoto and Takashi Miike, and to a lesser extent Shozin Fukui, Kazuyoshi Kumakiri and Hisayasu Sato, began gifting us with shocking, abrasive and irreverent visions where bodies morphed, blood flowed and nary a ray of brightness would reach. In a few years North American and UK distributors were releasing films like Tsukamoto's "Tetsuo the Iron Man", Miike's "Audition", Fukui's "Rubber's Lover", Kumakiri's "Kichiku: Banquet of the Beasts" and Sato's "Splatter: Naked Blood" in stores. These films formed the dark side of the J-Horror boom, something dubbed "extreme cinema", and for young cult movie fans these pitch black visions eclipsed much of what came before from film-makers in Japan. What many didn't know is that there was a director who was working a decade before who had not only released a film that would anticipate this dramatic shift, but also drew direct inspiration from earlier classic cinema. That director was Yoshihiko Matsui and his film was "The Noisy Requiem".<br />At its narrative core the gritty black-and-white "The Noisy Requiem" is a serial killer film, although one that follows none of the previous or subsequent genre trappings. In the heart of Osaka's run down Shinsekai, or New World" district a killer is hiding in plain sight amongst the bums and the beggars. We first meet Makoto Iwashita (Kazuhiro Sano) as he is strangling and wrenching the head of a pigeon. It's only seconds later that we see that his cruelty is in no way limited to animals. What follows is a montage sequence in which we see Iwashita at work, killing women in back alleys by bashing them over the head with a small crowbar and then carving out their reproductive organs. What he does with these is shove them into a cavity he has hollowed out between the legs of a wooden mannequin which he has lovingly laid out on a bed on his rooftop hideaway. Stomach-churning indeed, but somehow Matsui, who also wrote the screenplay for "The Noisy Requiem", begins to make us somehow empathize with this most anti of anti-heroes. One way he does this is to introduce us to a series of other Shinsekai natives equally as repulsive as Iwashita.<br /><br />
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgspWtpHz1pNWl4jSAVs_uE7txo2uZDL7df6SRlfSzEpFMpeWdAufkPPiTT3YzTAsjC-VldhrYiWMqGeD-eUJhMnYv03-w-oie-7NcasI5EKkzVGD8kWtfZGYurgyw4_dZ4ZnqEVj8f8XA/s1600/noisy.PNG"><img alt="" border="0" id="BLOGGER_PHOTO_ID_5630471555636025890" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgspWtpHz1pNWl4jSAVs_uE7txo2uZDL7df6SRlfSzEpFMpeWdAufkPPiTT3YzTAsjC-VldhrYiWMqGeD-eUJhMnYv03-w-oie-7NcasI5EKkzVGD8kWtfZGYurgyw4_dZ4ZnqEVj8f8XA/s400/noisy.PNG" style="cursor: pointer; display: block; height: 301px; margin: 0px auto 10px; text-align: center; width: 400px;" /></a>There are a pair of street musician/ beggars, both injured and shell-shocked WW2 veterans who howl and contort on a street corner. Iwashita isn't even convinced these two are Japanese and he brutally beats them, but still they return to their street corner. There is a homeless man portrayed by butoh dancer Isamu Ohsuga who is caked with dirt and feces and drags around a log with an instant resemblance to a woman's buttocks and groin. There are the midget siblings, bother and sister, whom Iwashita gets a job from. The sister was burnt as a child and bares horrible scars on her torso. When she isn't spending time masturbating with an electric dildo she is having relations with her own brother, something that was apparently dictated in their mother's will so that her daughter would know what being with a man was like. Iwashita lays beside his terrifying bride each night pondering the people, horrible like "jellyfish" who are "shoved into his eyes" each day. Navigating amongst this knot of grotesque creatures are a silent couple -- a young man and a little girl. Their presence is a calming one often accompanied by melancholic piano music. If looking for an easy interpretation then these other homicidal, homeless and incestuous denizens of Osaka's underworld might be demons while the young man and the girl are possible angels in the scenario. Even they dramatically fall from grace in the final third of the film though, giving us some of the most shocking images and ideas in "The Noisy Requiem".<br />As we first watch "The Noisy Requiem" we wonder two thing. First, we wonder if the debased characters that inhabit the film aren't just everyday folk as seen through Iwashita's lens of hatred and violence. This would give us as an audience an easy way to interpret Matsui's film, or maybe escape or distance ourselves from some of its more nauseating imagery. We soon learn, though, that Iwashita is just one of many damaged and deranged individuals that crawl through the muck of Shinsekai. It's a realization that both gives "The Noisy Requiem" its power, as well as making it a film that many have had problems sitting through. If Iwashita is just another human whose darkest fantasies have erupted into his conscious life then what does that say about us as audience members and fellow human beings?<br />That brings us to the second thing we wonder, why? Why the violence, why the depravity heaped up by Matsui and "shoved into our eyes" in the same way Iwashita is assaulted by his own world? That brings us to Matsui's important place in Japanese film history. One of Matsui's self-confessed creative heroes was avant-garde poet, playwright and film-maker Shuji Terayama. This is the same Terayama whose remarkable films have yet to catch on in North America due to his debut feature, also a gritty black-and-white film called "Emperor Tomato Ketchup". It, like "The Noisy Requiem", is set in a decaying and surreal world, but it also features simulated sexual encounters involving minors. This has made Terayama, a major intellectual figure in Japan, verboten in the U.S. and Canada. Matsui doesn't take his power to shock though just from Terayama. One only needs to look at the 1960's films of New Wave pioneer Shohei Imamura to see the tradition from which Matsui has come. From 1961's "Pigs and Battleships" straight through to 1968's "Profound Desire of the Gods" the world of Imamura was one steeped in murder, obsession, lust, pornography, incest and black humour. As Imamura was often quoted as saying, "I am interested in the relationship of the lower part of the human body and the lower part of the social structure." Yes, the characters in "The Noisy Requiem" are extreme, but they would not look out of place in the Imamura universe. Instead of being connected to the waist down "lower part of the human body" though Matsui's characters inhabit the creases in our flesh, between our legs, under our armpits, in places we never see, can't reach, the places that breed disease, but are still necessary to our being. Maybe it's this that today's "extreme" film-makers draw from when looking at a film like "The Noisy Requiem".<br />The work of Yoshihiko Matsui is a wonderful, if often uncomfortable, bridge between the likes of Imamura and Terayama and contemporary violent and confrontational films that pack theatres at genre film festivals worldwide. Impossible to find legally in North America and very expensive to purchase in Japan, "The Noisy Requiem" is a revolting masterpiece, revolting in the true dual meaning of being both at times disgusting, but always revolutionary. A difficult dose of film, but one that is well worth the effort. - <strong>Chris MaGee</strong><br />
<a href="http://jfilmpowwow.blogspot.com/2011/07/review-noisy-requiem.html"><span style="color: #3d85c6;">http://jfilmpowwow.blogspot.com/2011/07/review-noisy-requiem.html</span></a><br />
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Yoshihiko Matsui's <i>Noisy Requiem</i> is a guttural howl of a film, a quietly despairing, skuzzed-out travelogue through the post-industrial hell of Osaka's slums. It is a film so raw, transgressive, and aesthetically assaultive that its maker has since served out a life sentence in director's jail with little-to-no chance for parole. But behind the art-shock provocations lurks a great tenderness and compassion for its cast of marginalized outcasts and the surrealist wasteland they inhabit. Even as Matsui's art-damaged guerilla aesthetics—the blown-out black and white imagery, droning soundscapes, and frenzied handheld camerawork—threaten to discomfort and go for the big dyspeptic gut-punch, the film itself flirts with something between empathy and full-bore repulsion. It jolts us with violence and heaped-on grotesqueries, buries us in a sea of puke, blood, trash, and shit, and yet it still seethes with quiet longing and a very real sense of sadness. All those misguided expressions of love kinda sting. <u><span style="color: #0066cc;">Review by </span><strong class="name"><span style="color: #0066cc;">Chuck Williamson</span></strong><span style="color: #0066cc;"> </span></u><br />
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<span style="color: black;">Absolutely massive in a way few films are, capturing so much of the misery, hatred, and cruelty lurking under the surface of polite society without any of the pretensions that mission usually comes with. Just raw, beautiful ero-guro grime. I think Matsui has become a favorite director in just two films.<a class="context" href="https://letterboxd.com/xl9/film/noisy-requiem/" title="Read Perry, the Thing Forsaken by God’s review">Review by <strong class="name">Perry, the Thing Forsaken by God</strong></a></span><br /><br />
Amazing visuals and full of a lot of great absurdist and deadpan comedy, but apart from that it's just an overly long and poorly paced film.<br />
The direction is okay, the effects are hot garbage, and the score made me want to cut off my ears and swallow them whole.<br />
Disappointing overall, really wish it did more with the comedy and punk as fuck style of filmmaking it was going for. I'm not completely turned off by Matsui, but I'm definitely not sold on him either.<br />
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<a class="context" href="https://letterboxd.com/ttelrcas/film/noisy-requiem/" title="Read Scarlett’s review"> Review by <strong class="name">Scarlett</strong></a></div>
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Impossible to describe. A horror-meditation on humiliation, pain, and suffering among the dregs of the slums of Osaka. Director Yoshihiko Matsui captures some of the most grotesque and haunting images I've ever seen on 16mm film that must have come from the same depths of hell that captured Tobe Hooper's masterpiece THE TEXAS CHAINSAW MASSACRE (1974). And much like Hooper, Matsui captures the nihilism that has befallen an unwilling group of individuals that are not exactly punished...but more so guided to the end of their rope. <u><span style="color: #0066cc;">Review by </span><strong class="name"><span style="color: #0066cc;">Michael</span></strong><span style="color: #0066cc;"> </span></u></div>
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<u><span style="color: #3d85c6;"><a href="https://letterboxd.com/film/noisy-requiem/">https://letterboxd.com/film/noisy-requiem/</a></span></u></div>
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-82201200818519502912018-10-30T08:22:00.003-07:002018-10-30T08:22:56.817-07:00Michael Robinson - Light Is Waiting (2007)<div dir="ltr" style="text-align: left;" trbidi="on">
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<strong><span style="font-size: large;">Popularno je misliti da je popkultura dimenzija ispunjena demonima. Što onda može učiniti egzorcizam jednoga od njih?</span></strong><br />
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A very special episode of television's <em>Full House</em> devours itself from the inside out, excavating a hypnotic nightmare of a culture lost at sea. Tropes of video art and family entertainment face off in a luminous orgy neither can survive.- <strong>Michael Robinson</strong><br />
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“If you see one 11-minute video this year, make it Michael Robinson's magnificent, hilarious, and terrifying <em>Light Is Waiting</em> (2007). The primordial, extreme slo-mo soundtrack is like a glitch mix from beyond the grave by DJ Screw. Robinson's seizure-inducing blasts of stroboscopic light rival those of the Austrian film experimentalist Peter Tscherkassky. And I haven't even mentioned the Olsen twins … <em>Light Is Waiting</em> exorcises American pop cultural demons via video the way Kenneth Anger did with film in 1964's <em>Scorpio Rising</em>.”-- <strong>Johnny Ray Huston</strong>, <em>San Francisco Bay Guardian</em>, April 2008<br />
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<table border="0" cellpadding="0" cellspacing="0" style="height: 169px; width: 640px;"><tbody>
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<tr><td><span style="color: black;"> </span></td><td><span style="color: black;"><span class="style12"><strong>WHITNEY BIENNIAL CURATORS' VIDEO COMMENTARY</strong></span><span class="style15">:</span> <span class="style15"><span class="style14"><a href="https://www.youtube.com/watch?v=IubrhyOZZps" target="_blank"><span style="font-size: x-small;">watch here</span></a></span></span></span></td></tr>
<tr><td><span style="color: black;"> </span></td><td><span style="color: black;"><span class="style12"><strong>BAD AT SPORTS INTERVIEW</strong></span><span class="style15">:</span> <span class="style15"><span class="style14"><a href="http://badatsports.com/2012/rare-atmospheres-an-interview-with-michael-robinson/" target="_blank"><span style="font-size: x-small;">read here</span></a></span></span></span></td></tr>
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<tr><td><span style="color: black;"> </span></td><td><span style="color: black;"><span class="style12"><strong>THE L MAGAZINE ARTICLE</strong></span><span class="style15">:</span> <span class="style15"><span class="style14"><a href="http://www.thelmagazine.com/TheMeasure/archives/2010/06/10/michael-robinson-at-ps1s-greater-new-york-sturm-und-drang-und-irony" target="_blank"><span style="font-size: x-small;">read here</span></a></span></span></span></td></tr>
<tr><td><span style="color: black;"> </span></td><td><span style="color: black;"><span class="style12"><strong>AURORA FESTIVAL 2008 CATALOGUE ESSAY</strong></span><span class="style15">:</span> <span class="style15"><span class="style14"><a href="http://poisonberries.net/huldisch_article.pdf" target="_blank"><span style="font-size: x-small;">read here</span></a></span></span></span></td></tr>
<tr><td><span style="color: black;"> </span></td><td><span style="color: black;"><span class="style12"><strong>CINEMA SCOPE ARTICLE/INTERVIEW</strong></span><span class="style15">:</span> <span class="style15"><span class="style14"><a href="http://cinema-scope.com/cinema-scope-magazine/features-songs-sung-blue-the-films-of-michael-robinson/" target="_blank"><span style="font-size: x-small;">read here</span></a></span></span></span></td></tr>
<tr><td><span style="color: black;"> </span></td><td><span style="color: black;"><span class="style12"><strong>FILM COMMENT POLL</strong></span><span class="style15">:</span> <span class="style15"><span class="style14"><a href="http://www.filmcomment.com/article/best-of-the-decade-avant-garde/" target="_blank"><span style="font-size: x-small;">read here</span></a></span></span></span></td></tr>
<tr><td><span style="color: black;"> </span></td><td><span style="color: black;"><span class="style12"><strong>IDIOM ARTICLE</strong></span><span class="style15">:</span> <span class="style15"><span class="style14"><a href="http://idiommag.com/2009/09/michael-robinson-at-tank-tv/" target="_blank"><span style="font-size: x-small;">read here</span></a></span></span></span></td></tr>
<tr><td><span style="color: black;"> </span></td><td><span style="color: black;"><span class="style12"><strong>INCITE INTERVIEW</strong></span><span class="style15">:</span> <span class="style15"><span class="style14"><a href="http://www.incite-online.net/robinson.html" target="_blank"><span style="font-size: x-small;">read here</span></a></span></span></span></td>
<tr><td><span style="color: black;"> </span></td><td><span style="color: black;"><span class="style12"><strong>TRIPLE CANOPY 'VICTORY OVER THE SUN' ESSAY</strong></span><span class="style15">:</span> <span class="style15"><span class="style14"><a href="https://www.canopycanopycanopy.com/contents/victory_over_the_sun" target="_blank"><span style="font-size: x-small;">read here</span></a></span></span></span></td></tr>
<tr><td><span style="color: black;"> </span></td><td><span style="color: black;"><span class="style12"><strong>CHRIS STULTS 'LIGHT IS WAITING' ESSAY</strong></span><span class="style15">:</span> <span class="style15"><span class="style14"><a href="http://cstults.net/index.php?/project/light-is-waiting-michael-robinson-2007/" target="_blank"><span style="font-size: x-small;">read here</span></a></span></span></span></td></tr>
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</span><span class="style2"><span style="color: black;"><span style="color: black;">Michael Robinson (b.1981) is a film, video and collage artist whose work explores the joys and dangers of mediated experience, riding the fine lines between humor and terror, nostalgia and contempt, ecstasy and hysteria. His work has screened in both solo and group shows at a variety of festivals, museums, and galleries including The 2012 Whitney Biennial, The International Film Festival Rotterdam, The New York Film Festival, The Walker Art Center, Berlinale, MoMA P.S.1, The London Film Festival, REDCAT Los Angeles, The Wexner Center for the Arts, The Sundance Film Festival, Anthology Film Archives, Tate Modern, Media City, The Yerba Buena Center for the Arts, The Images Festival, The Ann Arbor Film Festival, and the Toronto, San Francisco, Melbourne, Leeds, Vienna, Singapore and Hong Kong</span> International Film Festivals. He was the recipient of a 2014 MacDowell Colony Fellowship, a 2012 Creative Capital grant, a 2011-2012 Film/Video Residency Award from The Wexner Center for the Arts, a 2012 Kazuko Trust Award, a 2009 residency from The Headlands Center for the Arts, and his films have received awards from numerous festivals. Michael was featured as one of the "Best 50 Filmmakers Under 50" by Cinema Scope magazine in 2012, and listed as one of the top ten avant-garde filmmakers of the 2000's by Film Comment magazine, and his work has been discussed in publications such as Art In America, Frieze, Artforum, Art Papers, The Village Voice, Time Out New York, Dazed and Confused, The Nation, BOMBlog, and The Brooklyn Rail. He has curated programs for San Francisco Cinematheque, Whitechapel Gallery, The Museum of Contemporary Photography, Cornell Cinema, and The State Contemporary Art Center in Moscow, and served on the awards juries of The Ann Arbor Film Festival, The Aurora Festival, The Big Muddy Film Festival, and Migrating Forms. Michael holds a BFA from Ithaca College, an MFA from the University of Illinois at Chicago (UIC), and has taught at Binghamton University, UIC, and Otis College of Art and Design. </span></span><br />
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<strong>MICHAEL ROBINSON with Z. W. Lewis</strong> <br />
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<a class="lbarticle" href="https://brooklynrail.org/article_image/image/19746/OLF.jpg" target="_image" title="<em>Onward Lossless Follows</em>"><img alt="" class="lbarticle" src="https://brooklynrail.org/article_image/image/19746/OLF.jpg" /></a><span class="caption"><em>Onward Lossless Follows</em></span></div>
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Michael Robinson’s newest video work, <em>Onward Lossless Follows </em>(2017), takes a trip over desert landscapes to the great digital future unknown. Along the way, stock videos show women celebrating in front of their laptops, horses fly, and an unsettling meet-up burgeons into a relationship full of love and loss. It’s par for the course for Robinson’s remixing of footage that’s plenty “off” all on its own, but, under Robinson’s control, points to just how weird our collective culture can be. His <em>Light Is Waiting</em> (2007) damned <em>Full House</em> through a kaleidoscopic Tartarus, and his <em>These Hammers Don’t Hurt Us </em>(2010) took Michael Jackson to heaven (or somewhere nicer) by way of Liz Taylor. However, his career as visual cultural critic is at its most disturbing in this latest work as he implements internet culture: stock videos, text chat, and other digital artifacts that feel sharp and hyper-real compared to his usual fuzzy, nostalgic outlook. I talked with Michael Robinson after <em>Onward Lossless Follows</em>’s <span class="caps">U.S. </span>premiere at the 55th New York Film Festival.<br />
<strong>W. Lewis (Rail):</strong> A few of your films have been gaining awareness outside the usual experimental film crowd. What has the experience of "going viral" been for you?<br />
<strong>Michael Robinson:</strong> Oh, have I gone viral? I don't know. I feel like the work that I've had online that's gotten significant play hasn't broken through into actual internet fame or anything. I did share a clip from <em>The Dark, Krystle</em> on Instagram that then got turned into a meme briefly. That was maybe getting millions of views, but there was nothing attaching that to me or to the film or anything. It was just like an “Alexis is drinking, <span class="caps">TGIF</span>!” kind of thing. That felt pretty weird because I was like, “What the hell, can't I get something out of this?” But the nature of making this kind of work is that it’s not really going to make any profits. I don't want to spend time thinking about how to make the most out of something like that. I feel like it would be great to go viral with videos, but I still feel like the headaches that might come with that are significant.<br />
<strong>Rail:</strong> Why do you think people gravitate toward <em>Light is Waiting</em> in particular? That’s the one with the most views on your Vimeo page.<br />
<strong>Robinson:</strong> Yeah. I think maybe the way that the beginning moments of that film are unaltered is pretty easy to get into. I mean, you are essentially just watching TV for two minutes before [an aggressive flicker effect] kicks in, and I think the sort of joke of it is so easy and obvious. You know, just the kind of pulling apart of the dumb sitcom is accessible enough. But I also think people's relationship to that show, whether they know it well or not, is kind of specific. It’s a pretty satisfying thing for people to experience—seeing something that squeaky clean and aggressively banal turned on its head. I mean a lot of people seem to think of that as a pretty psychedelic druggy film or something? The joke of <em>Full House</em> becoming an acid trip is appealing in some way. I don’t think the psychedelia in my films is all that related to drugs at all, but I think just in terms of the pairing of that material with that treatment is a joke that people get. Also, that was on <em>Artforum</em>’s website, and I know it gets a lot of use there still, so it’s just a matter of when I put things online and what stuck and what didn’t.<br />
<strong>Rail:</strong> You come from the <span class="caps">MFA </span>program at the University of Illinois. Was that a big formative experience for you?<br />
<strong>Robinson:</strong> Yeah, totally. That was great. It’s a really intense two-year program. I wanted to go somewhere where I could mostly work on video, but within the context of a broader arts community. I loved it. I worked with Deborah Stratman as my advisor. She was super influential and taught me a lot about sound. I always gravitated towards the same kind of subtle motifs, and she really opened up my work in that way.<br />
<strong>Rail:</strong> There’s a very specific way those early videos look—especially <em>All Through the Night </em>(2008) and <em>We All Shine On </em>(2006). There’s a texture like having the camera too close to a <span class="caps">CRT </span>television, and so you get those scan lines. Is that a particular texture that you want to come back to?<br />
<strong>Robinson:</strong> I guess the experience of being close to a TV like that usually would mean you’re obsessing over something or have recorded something off the <span class="caps">TV, </span>or are trying to find something in an image that I think can lend a level of urgency or maybe perversion to film. I spent a lot of those years staring at a <span class="caps">TV, </span>playing video games, or watching the same movies over and over again on degrading <span class="caps">VHS </span>tapes. In some ways the aesthetics of older TVs maybe does feel kind of emotional in some way.<br />
<strong>Rail:</strong> Your films are also very musical. The films themselves kind of follow the rhythm of a song, and they usually have some sort of crescendo. Do you have this sort of rhythm in mind when you’re starting a project, or does it naturally fall into place with your material?<br />
<strong>Robinson:</strong> I think that falls into place as I edit. I often start with more of a feeling that I want to encircle than a rhythm. Something like <em>These Hammers Don’t Hurt Us </em>which has lots of little pieces coming out of darkness and a sort of more open moaning on the soundtrack. That came about where I had many chunks and versions and slowly moved things together to see what created a kind of forward momentum. And something like in the new film <em>Onward Lossless Follows</em>, which also has a lot of distinct sections, but they’re longer and allowed to be themselves.<strong> </strong><br />
<strong>Rail:</strong> Can you speak about narration and the wild stories in your most recent work? I’m thinking about <em>Mad Ladders </em>(2015), <em>Line Describing Your Mom </em>(2011), <em>If There Be Thorns</em> (2009<em>)</em>, and <em>Onward Lossless Follows</em>.<br />
<strong>Robinson:</strong> I tend to think of the work as narrative from the get-go. I feel like the emotional build of the film only happens through having enough sense of narrative that there’s something at stake. I get a lot of inspiration and satisfaction from narrative, and that seeps into my work pretty directly. I like the idea of having the semblance of a narrative without actual characters or plot that carves out the feeling and the emotional thrust of storytelling. It comes out of editing and gravitating towards specific moments or specific lines of voice or text. The ghost of a narrative happens in the films through the process of figuring out the image and the sounds, too. I knew I wanted <em>These Hammers Don’t Hurt Us </em>to feel like Liz Taylor taking Michael Jackson into the afterlife, but I didn’t know how that would come about.<br />
<strong>Rail:</strong> I just revisited your longer non-appropriated film <em>Circle in the Sand </em>(2012). Is that kind of work something you’re interested in returning to? I know you’re currently working on <em>I’ll Be Thunder</em>, which is going to be a feature project, right?<br />
<strong>Robinson:</strong> It’s coming. <em>I’ll Be Thunder</em> was originally conceived as a second half to <em>Circle in the Sand</em>. Not exactly a sequel but more of a twin film that could maybe be shown alongside it. But, by the time I had finished <em>Circle in the Sand</em> my ideas for <em>I’ll Be Thunder</em> had somewhat shifted. Making [<em>Circle in the Sand</em>] also taught me that if I were to make another longer narrative like that, I want to do it with a real script and less of a spacey improvisational approach. <em>I’ll Be Thunder</em> will be a much more accessible character-based narrative.<br />
<strong>Rail:</strong> I particularly like the moments in <em>Circle in the Sand</em> when the characters are almost miniature Michael Robinsons piecing together little bits of culture they find and trying to make sense of it.<br />
<strong>Robinson:</strong> If there was a script for <em>Circle in the Sand</em>, it would be mostly lists and drawings of those moments of the characters dealing with junk and details of culture. I think making a film of that length and with that level of narrative, the editing was actually really challenging to figure out. I love that film. I think I'm going to put that on Vimeo this week. I broke it down into five chapters, so it can look a little better. Somehow it seems like watching a 45-minute film is a drag. People will watch a little and then get up to go do something else. The pieces work well. I feel like showing segments of it, or chapters, along with my other films has actually been pretty satisfying.<br />
<strong>Rail:</strong> <em>Onward Lossless Follows</em> is a strange title. Would explaining it take away part of the mystery here?<br />
<strong>Robinson:</strong> I mean, I started with the title, which is often the case. A title will arrive from wherever, and I'll sit on it for a while until a given film kind of feels like it belongs. I guess there's two ways in which you can read it. There's “<em>onward</em> lossless will follow” meaning that I can keep going because the future will be better. There's also “onward lossless <em>follows</em>” where “follows” is more in the social media sense—sort of submitting to the present as a way to get out of it. That's probably the more accurate interpretation.<br />
<strong>Rail:</strong> What's the source of all the astrology talk in the beginning? Where'd you find that?<br />
<strong>Robinson:</strong> The preacher? That I found online—I can't remember his name. He was like a radio, a preacher out of a church in LA in the 70s and 80s and his sermons are all archived online, but I had heard that one in particular while I was driving across country. I think I was in Tennessee and was just totally struck by how strange the mix of religious anger and all this talk of Venus and what felt pretty anti-science and anti-astrology. I listened to a couple of hours of various sermons, but none of them had anything that really spoke to me in that way, so I just used this one and edited out most of the religious details.<br />
<strong>Rail:</strong> I remember that “Stranger Danger” clip that you used very well. The text conversation that comes after makes it both so disturbing and hilarious.<br />
<strong>Robinson:</strong> Yeah, I mean, it's obviously not funny subject matter but the combination of cheap production value and non-professional actors is so charming and strange and kind of overrides whatever is happening. I can remember watching those types of films as a kid, too, and I mostly gravitated toward how weird the whole thing felt.<br />
<strong>Rail:</strong> You used the flicker effect to a particularly violent degree here, but not as one of your crescendos, like whenever it's used in <em>Light is Waiting</em>. What's your relationship to the flicker here? Why institute it in this film?<br />
<strong>Robinson:</strong> Generally, I feel like it's a way to add a level of overwhelmingness and chaos to a part of the film. Often that does occur as more of a crescendo, but it sort of arranges various parts of the storylines in <em>Onward Lossless Follows</em>. I like the way it starts with the flicker and then returns halfway through for a while and shows up a little bit at the end. It felt more like one of the many pieces that pops in and out and slowly forms a relationship with what's around it. I don't have an exact "the flicker means this” kind of definition.<br />
<strong>Rail:</strong> I like to imagine <em>Onward Lossless Follows </em>as almost a Western. You have a lot of desert traveling shots, the horse at the very end, a couple of guys doing manual labor, and America's “Horse with No Name.”<br />
<strong>Robinson:</strong> I like that. I've been living in LA for a few years now, so I feel like I have spent a fair amount of time going out to the desert. The spirit of the love story that takes place, that kind of spacey Western feeling, and the preacher talking about drought and outer space also feels like a Western.<br />
<strong>Rail:</strong> I'm kind of surprised this is your first time using stock video footage in a film. That seems like something you would gravitate towards, and here it's used to a cheesy end, like to show a cartoonish version of celebration. People ecstatically staring at their laptops and clapping.<br />
<strong>Robinson:</strong> I wasn't aware you could browse so much stock video online. I was instantly amazed at how much there was of this specific thing, particularly women at computers ecstatically celebrating. I mean it is a pretty gendered thing, there are definitely lots of businessmen doing similar, but it's not the same throw-hands-up-in-the-air celebration. With them, it's way more fist pump: “Yo bro, I did it!” It felt like a weirdly dark and commercial ceremonial thing. Usually these are geared towards the idea of business success, or money coming in, or getting the deal in some way. That combination of person-computer financial success felt really dark to me. I imagined them as the choir or the audience of the preacher's sermon.<br />
<strong>Rail:</strong> Have you seen any good movies recently?<br />
<strong>Robinson:</strong> I saw a lot at the New York Film Festival. I love <em>Flores</em>, Jorge Jácome's film. I loved Jesse McLean's new film. And I should probably not mention too many because then I won't mention others. I did really enjoy <em>mother! </em>which I know is getting trashed as the worst thing ever. And it really is a horrible movie, but I got a lot out of how horrible it is. I don't think he knows what he's doing, but somehow I really enjoyed the whole thing. I feel like I saw a lot of movies this summer that I expected to enjoy and sort of just snoozed through. This definitely wasn't a snooze; it was something I'll remember</div>
<a href="https://brooklynrail.org/2017/12/film/IN-CONVERSATION-Michael-Robinson-with-Z-W-Lewis"><span style="color: #3d85c6;">https://brooklynrail.org/2017/12/film/IN-CONVERSATION-Michael-Robinson-with-Z-W-Lewis</span></a><br />
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com6tag:blogger.com,1999:blog-9090164656735666067.post-85844212709422278092018-10-30T07:35:00.000-07:002018-10-30T07:35:15.039-07:00Jakob Mohr - Influencing Machines <div dir="ltr" style="text-align: left;" trbidi="on">
<a data-cthref="/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjp35DyrK7eAhXL3KQKHRNqCrIQjRx6BAgBEAU&url=https%3A%2F%2Fwww.kerberverlag.com%2Fen%2Fjakob-mohr.html&psig=AOvVaw2zuQr2m9AMtYsWxlctFnWM&ust=1540994536567956" data-ved="2ahUKEwjp35DyrK7eAhXL3KQKHRNqCrIQjRx6BAgBEAU" href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjp35DyrK7eAhXL3KQKHRNqCrIQjRx6BAgBEAU&url=https%3A%2F%2Fwww.kerberverlag.com%2Fen%2Fjakob-mohr.html&psig=AOvVaw2zuQr2m9AMtYsWxlctFnWM&ust=1540994536567956" id="irc_mil" jsaction="mousedown:irc.rl;focus:irc.rl;irc.il;" style="border-image: none; border: 0px currentColor;"><img alt="Image result for Jakob Mohr," height="640" id="irc_mi" src="https://www.kerberverlag.com/media/catalog/product/cache/2/image/800x/9df78eab33525d08d6e5fb8d27136e95/j/a/jakob-mohr_3d.jpg" style="margin-top: 0px;" width="640" /></a><br />
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<strong><span style="font-size: large;">Dakle, netko upravlja tvojim ponašanjem uz pomoć tajanstvenih strojeva? Nekada si morao biti lud da povjeruješ u takvo nešto.</span></strong><br />
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Jakob Mohr (1884–1940) is one of the most well known artists of the renowned Prinzhorn Collection. As of 1911, the assistant gardener spent six years as a psychiatric patient because he believed that he was influenced by electric waves. He made numerous drawings of these experiences and their operating principle, which are meanwhile among the most popular works in the collection. Mohr’s drawings are as visionary as they are fantastical, frightening, and also bizarre. In addition to the drawings, he also created self-portraits that show him as a high-ranking figure. In the new publication, all the drawings that have been preserved as well as a selection of texts by Mohr are published and explained for the first time.<br />
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<a data-cthref="/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwiD7cGRra7eAhXE0aQKHeJxADAQjRx6BAgBEAU&url=https%3A%2F%2Fwww.pinterest.com%2Fpin%2F114490015496866828%2F&psig=AOvVaw2ctJNrawjdG3_Cvys5mYLG&ust=1540995320997382" data-ved="2ahUKEwiD7cGRra7eAhXE0aQKHeJxADAQjRx6BAgBEAU" href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwiD7cGRra7eAhXE0aQKHeJxADAQjRx6BAgBEAU&url=https%3A%2F%2Fwww.pinterest.com%2Fpin%2F114490015496866828%2F&psig=AOvVaw2ctJNrawjdG3_Cvys5mYLG&ust=1540995320997382" id="irc_mil" jsaction="mousedown:irc.rl;focus:irc.rl;irc.il;" style="border-image: none; border: 0px currentColor;"><img alt="Image result for Jakob Mohr," id="irc_mi" src="https://i.pinimg.com/originals/36/72/a0/3672a0a2b6a8fc319b25d947ecdb5809.jpg" style="margin-top: 0px;" /></a><br />
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<a data-cthref="/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwiHxq6krq7eAhUEDewKHfapDzUQjRx6BAgBEAU&url=https%3A%2F%2Fprinzhorn.ukl-hd.de%2Findex.php%3Fid%3D38&psig=AOvVaw2ctJNrawjdG3_Cvys5mYLG&ust=1540995320997382" data-ved="2ahUKEwiHxq6krq7eAhUEDewKHfapDzUQjRx6BAgBEAU" href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwiHxq6krq7eAhUEDewKHfapDzUQjRx6BAgBEAU&url=https%3A%2F%2Fprinzhorn.ukl-hd.de%2Findex.php%3Fid%3D38&psig=AOvVaw2ctJNrawjdG3_Cvys5mYLG&ust=1540995320997382" id="irc_mil" jsaction="mousedown:irc.rl;focus:irc.rl;irc.il;" style="border-image: none; border: 0px currentColor;"><img alt="Image result for Jakob Mohr," height="388" id="irc_mi" src="https://prinzhorn.ukl-hd.de/fileadmin/_processed_/csm_Mohr_Jacob_627b_recto_o._Keil_web_8a403bb359.jpg" style="margin-top: 0px;" width="585" /></a><br />
<a data-cthref="http://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjc3dT1ra7eAhWQ2KQKHf7ZBnkQjRx6BAgBEAU&url=http%3A%2F%2Fartalk.cz%2F2016%2F11%2F02%2Fkresba-jako-medium-justicni-vrazda-jakoba-mohra%2F&psig=AOvVaw2ctJNrawjdG3_Cvys5mYLG&ust=1540995320997382" data-ved="2ahUKEwjc3dT1ra7eAhWQ2KQKHf7ZBnkQjRx6BAgBEAU" href="http://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjc3dT1ra7eAhWQ2KQKHf7ZBnkQjRx6BAgBEAU&url=http%3A%2F%2Fartalk.cz%2F2016%2F11%2F02%2Fkresba-jako-medium-justicni-vrazda-jakoba-mohra%2F&psig=AOvVaw2ctJNrawjdG3_Cvys5mYLG&ust=1540995320997382" id="irc_mil" jsaction="mousedown:irc.rl;focus:irc.rl;irc.il;" style="border-image: none; border: 0px currentColor;"><img alt="Related image" height="388" id="irc_mi" src="http://artalk.cz/wp-content/uploads/2016/10/vlcsnap-2016-06-16-12h35m03s95.png" style="margin-top: 0px;" width="689" /></a><br />
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[Tausk's] essay, “On the origin of the ‘Influencing Machine’ in Schizophrenia,” which has since become a classic in psychiatric literature, had just been published. <br />
In the article, Tausk described the elaborate mechanical devices that paranoid schizophrenics invent in their imaginations to explain away their mental disintegration. As the boundaries between the schizophrenic’s mind and the world break down, they often feel themselves persecuted by “machines of a mystical nature,” which supposedly work by means of radio-waves, telepathy, x-rays, invisible wires, or other mysterious forces. The machines are believed to be operated by enemies as instruments of torture and mind-control, and the operators are thought to be able to implant and remove ideas and feelings, and inflict pain, from a distance. <br />
Influencing Machines are described by their troubled inventors as complex structures, constructed of “boxes, cranks, levers, wheels, buttons, wires, batteries and the like.” Sometimes these devices are thought to be their doubles, unconscious projections of their fragmented bodily experience. Patients will typically invoke all the powers known to technology to explain their obscure workings. Nevertheless, they always transcend attempts at giving a coherent account of their function: “All the discoveries of mankind,” Tausk asserts, “are regarded as inadequate to explain the marvelous powers of this machine.” <br />
Tausk took his term from an apparently magical device invented in 1706 by Francis Hauksbee, a student of Isaac Newton. His “Influence Machine” was a spinning glass globe, which cracked like lightning when touched, transmitting an electrical spark and emitting a greenish neon light when rubbed—a mysterious luminosity which was called “the glow of life.” These apparently supernatural effects were caused by the introduction of static electricity into a vacuum; it worked like the shimmering vacuum tube of the modern TV. Its psychological incarnation had similarly mesmerizing effects: “The influencing machine,” Tausk wrote, “makes the patients see pictures. When this is the case, the machine is generally a magic lantern or cinematograph. The pictures are seen on a single plane, on walls or windowpanes; unlike typical visual hallucinations, they are not three-dimensional.” - <strong>Christopher Turner</strong><br />
<a href="http://www.cabinetmagazine.org/">http://www.cabinetmagazine.org/</a><br />
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<a data-cthref="/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjGiZ6fra7eAhUoM-wKHUcGC4oQjRx6BAgBEAU&url=https%3A%2F%2Fhyperallergic.com%2F35403%2Fmanfred-mohr-bitforms%2F&psig=AOvVaw2ctJNrawjdG3_Cvys5mYLG&ust=1540995320997382" data-ved="2ahUKEwjGiZ6fra7eAhUoM-wKHUcGC4oQjRx6BAgBEAU" href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjGiZ6fra7eAhUoM-wKHUcGC4oQjRx6BAgBEAU&url=https%3A%2F%2Fhyperallergic.com%2F35403%2Fmanfred-mohr-bitforms%2F&psig=AOvVaw2ctJNrawjdG3_Cvys5mYLG&ust=1540995320997382" id="irc_mil" jsaction="mousedown:irc.rl;focus:irc.rl;irc.il;" style="border-image: none; border: 0px currentColor;"><img alt="Image result for Jakob Mohr," height="388" id="irc_mi" src="http://hyperallergic.com/wp-content/uploads/2011/09/manfredmohr1.jpg" style="margin-top: 0px;" width="517" /></a><br />
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<strong>The Judicial Murder of Jakob Mohr A film by Eva Koťátková</strong><span> </span><br />
2016.<br />
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The Judicial Murder of Jakob Mohr is a theatrical collage presenting to the audience the case of the psychiatric patient and artist Jakob Mohr. Mohr suffered from the delusion that his behaviour was controlled by his doctor by means of a mysterious machine. The scene of Mohr’s drawing Judicial Murder, which depicts Mohr as defendant, the doctor, the influencing machine and the court, is used as the setting for assemblies or unusual conferences in which Mohr is presented as an artist, patient and criminal and in which not only Mohr’s visions, but also scenes and figures by other Art Brut artists claim their right to existence.<br />
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-33833236747081761152018-10-27T02:27:00.003-07:002018-10-27T02:27:52.002-07:00Louis Feuillade - Tih-Minh (1918)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span class="watch-title long-title " dir="ltr" id="eow-title" title="Louis Feuillade - Les Vampires - Partie 1 - 1915 - La tête coupée (The Severed Head)"><img alt="Tih Minh" src="http://www.slantmagazine.com/assets/house/film/tihminh.jpg" height="513" title="Tih Minh" width="640" /></span></h1>
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<span class="watch-title long-title " dir="ltr" title="Louis Feuillade - Les Vampires - Partie 1 - 1915 - La tête coupée (The Severed Head)"><a data-cthref="/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwi1rLSZoKbeAhWPDuwKHc5ACZAQjRx6BAgBEAU&url=https%3A%2F%2Fjourneysindarknessandlight.wordpress.com%2F2016%2F01%2F15%2Ffantomas-1913-1914-louis-feuillade%2F&psig=AOvVaw32r1uG2md8x-RkR1sEnAsS&ust=1540716981153374" data-ved="2ahUKEwi1rLSZoKbeAhWPDuwKHc5ACZAQjRx6BAgBEAU" href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwi1rLSZoKbeAhWPDuwKHc5ACZAQjRx6BAgBEAU&url=https%3A%2F%2Fjourneysindarknessandlight.wordpress.com%2F2016%2F01%2F15%2Ffantomas-1913-1914-louis-feuillade%2F&psig=AOvVaw32r1uG2md8x-RkR1sEnAsS&ust=1540716981153374" id="irc_mil" jsaction="mousedown:irc.rl;focus:irc.rl;irc.il;" style="border-image: none; border: 0px currentColor;"><img alt="Image result for Louis Feuillade fantomas" id="irc_mi" src="https://journeysindarknessandlight.files.wordpress.com/2016/01/143035_front.jpg?w=676" style="margin-top: 0px;" /></a></span></h1>
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<a data-cthref="/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjrvrbDoqbeAhXJ3KQKHatpBaQQjRx6BAgBEAU&url=https%3A%2F%2Fnext.liberation.fr%2Fcinema%2F2017%2F11%2F03%2Flouis-feuillade-serial-thriller_1607759&psig=AOvVaw2Gafis2wjCWCCEPN6YA-x5&ust=1540717557744925" data-ved="2ahUKEwiL9JzloqbeAhWF_KQKHabvD4AQjRx6BAgBEAU" href="https://giphy.com/gifs/les-vampires-4irzgUlR8tBSw" id="irc_mil" jsaction="mousedown:irc.rl;focus:irc.rl;irc.il;" style="border-image: none; border: 0px currentColor;"><img alt="Related image" height="640" id="irc_mi" src="https://media.giphy.com/media/4irzgUlR8tBSw/giphy.gif" style="margin-top: 0px;" width="640" /></a></div>
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<span class="watch-title long-title " dir="ltr" title="Louis Feuillade - Les Vampires - Partie 1 - 1915 - La tête coupée (The Severed Head)"><a data-cthref="/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjpmY7Io6beAhXC3KQKHWDYClgQjRx6BAgBEAU&url=https%3A%2F%2Fgifer.com%2Fen%2FE3Je&psig=AOvVaw3yMtZR7bW1xI8MYlNghhRq&ust=1540717790260986" data-ved="2ahUKEwjpmY7Io6beAhXC3KQKHWDYClgQjRx6BAgBEAU" href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjpmY7Io6beAhXC3KQKHWDYClgQjRx6BAgBEAU&url=https%3A%2F%2Fgifer.com%2Fen%2FE3Je&psig=AOvVaw3yMtZR7bW1xI8MYlNghhRq&ust=1540717790260986" id="irc_mil" jsaction="mousedown:irc.rl;focus:irc.rl;irc.il;" style="border-image: none; border: 0px currentColor;"><img alt="Image result for Louis Feuillade - les vampires" height="478" id="irc_mi" src="https://i.gifer.com/E3Je.gif" style="margin-top: 7px;" width="640" /></a></span></h1>
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<span class="watch-title long-title " dir="ltr" title="Louis Feuillade - Les Vampires - Partie 1 - 1915 - La tête coupée (The Severed Head)">Louis Feuillade je između 1906. i 1924. snimio 630 filmova, a samo <i>Tih-Minh</i> traje 7 sati. <em>Les Vampires</em> također, pa serijali <em>Fantômas</em><span class="watch-title long-title " dir="ltr" title="Louis Feuillade - Les Vampires - Partie 1 - 1915 - La tête coupée (The Severed Head)"><em>, Judex </em>itd. Kad bi sada još Bill Morrison sve to malo distorzirao i pretvorio u nepoznat Proustov film.</span></span></h1>
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<br /><br />
Canons form based on availability. This is notoriously true for
literature, where translation helps determine who gets to read what, and
when—just think of the fervor with which the American literary
establishment has greeted W.G. Sebald and Roberto Bolaño novels over the
past 20 years once their work has been translated, well after the
authors' books were celebrated back home in their original languages.
But lack of access also haunts cinema studies, often for equally
transnational reasons. Many movies don't cross the pond. Foreign cinema
currently accounts for less than five percent of all movies released
theatrically in America, so the problem is especially true now. It's
also true for repertory—DVD can only account for so much. Jean-Pierre
Melville, the great French crime director whose 1969 French Resistance
film <a href="http://www.slantmagazine.com/film/review/army-of-shadows"><em>Army of Shadows</em></a>
received its stateside theatrical premiere a few years ago and was
acclaimed by many critics as the best release of 2006, is a recent
discovery for most American cinephiles. The Portuguese Pedro Costa, who
may be the world's greatest filmmaker age 50 or younger, is a
discovery-in-progress. Louis Feuillade (pronounced "Foy-yad"), the
brilliant French silent film director without whom Surrealism might
never have flourished, has barely been discovered at all.<br />
Feuillade directed films from 1906 to 1924, the year before his
death. He has one high-profile, universally acclaimed crime thriller,
1915's <a href="http://www.slantmagazine.com/film/review/les-vampires"><em>Les Vampires</em></a>, available on DVD in the States, as well as another, less-acclaimed but also brilliant <em>policier</em> (1916's <em>Judex</em>)
and a series of about 10 shorts on an omnibus silent film box set
released by the famed French studio Gaumont. This seems like ample
representation, until one realizes that Feuillade made more than 600
films in his career (<a href="http://www.imdb.com/name/nm0275421/">IMDb counts 633</a>).
Even though many of his films were 20 minutes or shorter, this is a
stunning level of productivity. Feuillade is all the more impressive for
working so voluminously even during WWI. Yet despite so many credits,
few American moviegoers know Feuillade. <em>Senses of Cinema</em> lists over 200 entries in its <a href="http://www.sensesofcinema.com/great-directors/">Great Directors</a> section, but lacks a Feuillade page; by contrast, the Ken Russell and Craig Baldwin entries seem pretty complete.<br />
Many of Feuillade's films were lost or destroyed during World War II.
I'm not qualified to comment on rights issues, but I can still cite
three further reasons why American audiences haven't seen more of
Feullade's work:<br />
<blockquote>
<strong>1. Format:</strong> Calling Feuillade's most revered films <em>features</em>
is stretching the term some. He was more properly a film serial
director, a tradition which sprung out of the 19th-century newspaper
tradition of serializing stories over weeks or even months (if the film
serial's precedent was the newspaper serial, its descendant has been the
TV miniseries). In contrast to most feature films, in which a
self-contained story unfolds over a block of time meant to be
experienced in one viewing, Feuillade made multi-part films whose
installments came out theatrically in subsequent order, building
momentum each week. You can think of <a href="http://www.slantmagazine.com/film/review/les-vampires"><em>Les Vampires</em></a> and <em>Judex</em> as long films, or as a series of short films—for instance, <a href="http://www.slantmagazine.com/film/review/les-vampires"><em>Les Vampires</em></a>
has 10 parts. Back when cinema was the main popular entertainment,
asking a large audience to come out to the movie theater over 10
consecutive weeks was reasonable; nowadays, it would be suicide. This is
just as well since, like Béla Tarr's 1994 film <a href="http://www.slantmagazine.com/film/review/satantango"><em>Satántángó</em></a>,
another long-form, multi-piece work, the parts form a cogent whole when
shown together. But projecting the entirety of a Feuillade serial
creates another problem.</blockquote>
<blockquote>
<strong>2. Length:</strong> With all the parts added
together, it's common for an entire Feuillade serial to run six to eight
hours. As Richard Maxwell has noted, the tradition of showing
Feuillade's serials in their entirety in the United States began in the
1970s, around the time when artists like Robert LaPlage, Robert Wilson,
and Philip Glass began conducting long-form experiments in music and
theater. Yet the problems such works face in finding an audience now
seem self-evident.</blockquote>
<blockquote>
<strong>3. Silence:</strong> Because they were made on
cheap, easily flammable and/or disintegrating film stock, most silent
films are lost to us today (in the United States alone it's been
estimated that 75 percent of silent films are irretrievable). Because
they're so rare, audiences are not used to them, and tend to be
apprehensive. I don't mean that audiences don't like silent movies—I
mean that they're unwilling even to watch them.</blockquote>
For over 90 years 1913's <em>Juve vs. Fantômas</em> was the only
Feuillade film circulating theatrically in the States. Even the
Feuillade work currently known and available is so largely because of
more recent remakes and adaptations—the French filmmaker Georges Franju (<a href="http://www.slantmagazine.com/film/review/eyes-without-a-face"><em>Eyes Without a Face</em></a>) remade <em>Judex</em> in 1963, and Olivier Assayas made <em>Irma Vep</em>, a Maggie Cheung-starring comedy about a film crew remaking <a href="http://www.slantmagazine.com/film/review/les-vampires"><em>Les Vampires</em></a>, in 1996. But many of the audiences that have seen <em>Judex</em> and <a href="http://www.slantmagazine.com/film/review/les-vampires"><em>Les Vampires</em></a> don't know about Feuillade's other great work, such as 1914's <em>Fantômas</em>, 1919's <em>Barrabas</em>, and perhaps most supremely, 1918's <em>Tih Minh</em>.<br />
The critic Jonathan Rosenbaum considers <em>Tih Minh</em> one of his 100 favorite movies, thinks it is better than <a href="http://www.slantmagazine.com/film/review/les-vampires"><em>Les Vampires</em></a>, and, in his book <em>Midnight Movies</em>, calls it the perfect late-night attraction, even with a 357-minute running time. Yet <a href="http://www.imdb.com/title/tt0009701/">the Internet Movie Database</a> lists no reviews of the film whatsoever, nor anything so much as a plot summary; ditto for <em>Tih Minh</em>'s <a href="http://en.wikipedia.org/wiki/Tih_Minh">Wikipedia</a> page.<br />
<em>Tih Minh</em> prints are hard to find. The Cinématheque Francaise
owns one, as does Anthology Film Archives, but public screenings rarely
happen. I was thus fortunate to catch a screening recently at a Yale
conference, spearheaded by History of Art and Film Studies graduate
student Richard Suchenski, called <a href="http://www.yale.edu/filmstudiesprogram/conferences/1919%20conference/1919Film.pdf">"After the Great War: European Film in 1919."</a> The conference also showed rare treats like Abel Gance's <em>J'Accuse</em> and Ernst Lubitsch's <em>The Oyster Princess</em> (<em>The Auteurs</em>'s
Daniel Kasman remarked that, had it played in New York, the conference
would have been the city's best repertory series of 2009), but opened
with Feuillade. Suchenski's program notes read that "Although <em>Tih Minh</em>
was a great success during its initial release, it was never translated
for export and circulated only in incomplete or damaged prints for
decades." After years spent hoping to see <em>Tih Minh</em>, I found it more than worth the wait.<br />
The film begins with explorer Jacques d'Athys (René Cresté) returning
home to his family from Indochina. He brings along Tih Minh (Mary
Harald), a lovely young girl that he picked up in Laos. He and his loyal
servant Placide (Georges Biscot) soon involve themselves in
international intrigue that includes jewel thieves-cum-spies who render
their victims amnesiacs, a treasure map written in an ancient Asian
hand, a literally hypnotic Hindu villain, an insane asylum, and a rock
avalanche. A character declares, "Understand that I have to avenge the
death of my father." In the midst of the madness Tih Minh herself
becomes a structuring principle, as many of the film's 12 episodes
involve the villains kidnapping her and her subsequent escape or rescue.
As the serial's first third concludes, our heroes flee from the
villains, their lovely T.M. in tow; the second third ends with the
villains fleeing from them; and the last four episodes build to a final,
deadly mountaintop confrontation between the two groups.<br />
The movie doesn't have a plot so much as a list of incidents. I don't
feel like I've given much away, since the one-damn-thing-after-another
structure keeps the viewer watching more for what happens moment to
moment than for where the story's going overall. As a consequence of its
cliffhangers, and despite its length, <em>Tih Minh</em> zips. In an April 1999 <em>Sight & Sound</em>
piece on Feuillade, Vicki Callahan wrote that "the serial form means
that the pursuit of criminality or evil is essentially an ongoing saga
that can never be completed; the capture of the criminal is not a moment
of closure but rather an opportunity to start the narrative anew, since
capture is invariably, and sometimes immediately, followed by escape.
Rather than a linear, goal-oriented story we have a narrative loop, and
one that is further complicated by character movements (whether through
misidentification or a particular character's ethical transformation)
between the criminal and law-abiding roles."<br />
As Callahan points out, <em>Tih Minh</em>'s characters frequently
tend to shape-shift and role-play, both through external and internal
activity (disguise is one example of the first, hypnotism of the
second—misidentification is common in the film, though ethical
transformation is scarce). In one scene Tih Minh and Placide's maid
fiancée Rosette (Jeanne Rollette) are visited by a pair of nuns at their
home, the Villa Luciola. One of the nuns soon throws off the habit,
revealing herself to be the villainous male thief, Kistna (Louis
Leubel). Brandishing a pistol, Kistna leads Tih Minh out into the garden
to find a map for him; he fires his gun, and the bullet ricochets
against a statue and wounds him in the hand. At this point Placide
(who's discovered the hidden microphones) bursts into the frame and,
chasing Kistna with a powerful hose, drives him over the garden fence.
The sequence mimics the film's overall power struggle—from good, to
evil, to a restoration of the good. In the next episode Kistna will send
a spying maid and her equally spying dog to infiltrate the Luciola
gang, but that too will pass. Like a Shakespearean comedy, <em>Tih Minh</em>
moves from chaos to a restoration of order. The film even marches
toward a traditional comedic ending—d'Athys and Placide plan a
double-wedding for when all the chases are done.<br />
Feuillade is able to depict such wild happenings onscreen because his
foundations are so solid. I mean this not just from a storytelling
perspective, but from a visual one. The director consistently relies on
static medium-to-establishing shots, proscenium-like in their
orientation, the camera viewing the characters from a slightly elevated
angle, and the lighting's generally unobtrusive. In other words,
Feuillade gives us a relatively normal, stable-looking frame so that the
odd happenings within it can seem all the more disruptive.<br />
Some of these moments are indomitably striking, especially in the
film's first few episodes. Dreaming of the abducted Tih Minh, d'Athys
envisions a ghostly superimposition of her, white dress billowing over
waves. Later, upon breaking into the spies' memorably-named Villa Circé
to look for her, d'Athys and Placide stumble across a basement room and
swing the door open. Inside they see hundreds of women, their hair wild,
eyes wide, and white dresses soiled, crawling over each other, the only
ray of light beaming in from a barred window above. The men begin
searching for Tih Minh, but cannot find her. Meanwhile, the women crawl
out and, arms forward, zombie-like, begin wandering the island.<br />
The film frequently invokes mental health—both good and bad doctors
lead people into forgetting and remembering their pasts, or inventing
new ones, and at one point a key character is even mistakenly locked up
in an insane asylum, the plot unable to advance until his release.
Freud's burgeoning theories of psychoanalysis hover about the film
(while the 63 year-old Freud had yet to write major works like <em>Beyond the Pleasure Principle</em> and <em>Civilization and Its Discontents</em> at the time of <em>Tih Minh</em>'s release, <em>The Interpretation of Dreams</em> had been in print for almost 20 years). So, too, does World War I: The Armistice was signed November 11th, 1918; <em>Tih Minh</em>'s
first episode premiered theatrically on November 30th. The references
to the unnamed conflicting governments for whom the characters work
recall the convoluted alliances countries formed and broke with each
other during the Great War, but the lingering sense of devastation and
trauma that the war left across Europe floats through the movie as well.<br />
Feuillade is filming a rousing adventure story, but he's also
questioning the future of the world. It's a world explicitly without
central authority figures, in which the characters fight to assert their
own moral order—as one of d'Athys's companions conveniently says late
in the film to justify hunting the thieves, "why inform the police? We
are mixed up in the most remarkable adventure in the world, let's go all
the way with it ourselves." To show how free society hangs in the
balance between poles of good and evil, Feuillade doubles many opposing
characters. D'Athys's friend, the good Doctor Davesne, is mirrored by
the chief spy Doctor Gilson. Rosette, the good maid, faces an evil maid
as her counterpart. Tih Minh breaks out of the spell Gilson and Kistna
have put her under, while Gilson's henchwoman Dolores confesses
everything to Davesne under hypnosis. Kistna and his servant Fritz
ultimately betray each other, while d'Athys and Placide stay true to one
another (all the performers portray effective archetypes, but Biscot's
comic servant is especially wonderful—as he charges gallantly forward to
save the women from harm, his flat eyes and smushed face make him seem
like a more adult Stan Laurel, though equally, sweetly monstrous). Tih
Minh and Kistna show the good and bad possibilities of Europe mixing
with Asia.<br />
The film balances its societal poles so that Nature ultimately has to
intervene. Toward the end of the film, as the felons flee into the
mountains, Feuillade moves his camera several hundred feet back and we
see them as specks in the landscape. Unlike <a href="http://www.slantmagazine.com/film/review/les-vampires"><em>Les Vampires</em></a>,
in which the black-clad Irma Vep appears and disappears at her liking,
the antagonists here never seem more than human; once the boulders
crash, they seem especially so. D'Athys, a bland hero, triumphs over his
adversaries not through skill so much as through luck and fate. Rather
than a screenplay deficiency, this seems the movie's point.<br />
I wrote earlier that modern audiences are unused to watching silent
films, but other silent cinema isn't the right point of comparison for
Feuillade's work. <a href="http://www.slantmagazine.com/film/review/les-vampires"><em>Les Vampires</em></a> came out the same year as <em>The Birth of a Nation</em>, but <a href="http://www.jonathanrosenbaum.com/?s=Les+Vampires%2C+Feuillade&paged=4">as Jonathan Rosenbaum writes</a>,
Griffith and Feuillade "seem to belong to different centuries. While
Griffith's work reeks of Victorian morality and nostalgia for the
mid-19th century, Feuillade looks ahead to the global paranoia,
conspiratorial intrigues, and SF technological fantasies of the current
century, right up to today."<br />
The most appropriate comparison for <em>Tih Minh</em> isn't to another silent film, but to a recent hit like <a href="http://www.slantmagazine.com/film/review/the-dark-knight"><em>The Dark Knight</em></a>.
Both films are about shape-shifting, disguise-donning villains and the
heroes who take the law into their own hands to stop them. Both films
structure themselves as a series of setpieces alternating between each
party's capture and escape. Both films are allegories about the wars
their countries were then fighting (<em>Tih Minh</em>'s gang is a gaggle of foreigners; several <a href="http://www.slantmagazine.com/film/review/the-dark-knight"><em>Dark Knight</em></a> characters call the Joker a terrorist).<br />
Yet <em>Tih Minh</em> trumps <a href="http://www.slantmagazine.com/film/review/the-dark-knight"><em>The Dark Knight</em></a>
stylistically, tonally, and thematically. Christopher Nolan edits his
movie to death, rendering a car chase indecipherable; Feuillade respects
the laws of physical space, so that when characters chase each other on
ski lifts, a thousand feet off the ground, we still sense where they
are in relation to each other and what they have to do to catch up.
Nolan pounds his points home with glum, dark seriousness while
simultaneously asking us to believe in a clown who can stuff a bomb into
a fat man's chest when no one's looking; Feuillade knows a poisoned
potion in the wine is improbable, and has Placide switch it with sugared
water. <a href="http://www.slantmagazine.com/film/review/the-dark-knight"><em>The Dark Knight</em></a>
insists that wire-tapping, torture, and government cover-ups are
necessary in the name of freedom, accepting these precepts
fatalistically; <em>Tih Minh</em>, by contrast, shows us a world worth
saving. I never want to see Nolan's movie again, but while Feuillade's
film is almost triple its length, I feel I could watch <em>Tih Minh</em>
at least 30 more times. One film exhausts, the other liberates; the
comic book film thinks it's addressing reality, but the human film knows
it speaks the language of dreams.<br />
<b>Aaron Cutler <a href="http://www.slantmagazine.com/house/2009/12/the-treasure-of-tih-minh/">www.slantmagazine.com/house/2009/12/the-treasure-of-tih-minh/</a></b><br />
<br />
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<br />
<h2>
The Innovators 1910-1920: Detailing The Impossible</h2>
<img alt="Film still for The Innovators 1910-1920: Detailing The Impossible" class="noborder" src="http://old.bfi.org.uk/sightandsound/images/issue/420/feuillade_420.jpg" width="420" /><br />
<br /><br />
<strong>When
Louis Feuillade first began to make crime serials he was vilified.
But 'Fantômas' and 'Les Vampires' began a rich tradition of
questioning narrative certainty, argues Vicki Callahan</strong><br />
Two of the great works of cinema were released in 1915: D. W. Griffith's
<cite>The Birth of a Nation</cite> and Louis Feuillade's <cite>Les Vampires</cite>,
a ten-part film with episodes appearing between November 1915 and
June 1916. The disparity in tone and style between these two masterpieces
stems not only from their directors' individual visions or the different
national contexts in which they were produced. Rather, what these
films represent are two distinct modes of cinematic expression and
two separate paths for cinema history. If the Griffith film has
been taken as a signpost on the way to 'classical' Hollywood or
the 'institutional' mode of film-making, the place of Feuillade's
<cite>Les Vampires</cite> is less clear cut.<br />
Feuillade's relative absence from the stage of cinema history can
be traced to a certain extent to the mixed reception given his films
at the time of their release. Born in 1873, Feuillade came to Paris
from southern France in 1898 to pursue a career in journalism. His
conservative educational background and association with the right-wing
press gave little hint of the radically subversive aesthetic that
would emerge in his films. He was hired by Gaumont as a scriptwriter
in 1905 and in 1907 replaced Alice Guy as head of production. Before
leaving Gaumont in 1924 Feuillade made more than 800 films covering
almost every contemporary genre: historical drama, comedy, realist
drama, melodrama, religious films, and so on. However, he was most
famous, or infamous, for his crime serials: <cite>Fantômas</cite>
(1913-14), <cite>Les Vampires</cite>, <cite>Judex</cite> (1916), <cite>La Nouvelle
Mission de Judex</cite> (1917), <cite>Tih-Minh</cite> (1918) and <cite>Barrabas</cite>
(1919). <br />
These films were particularly despised. The crime serial was a
popular and prolific genre at the time in both American and French
cinema; French precursors to <cite>Fantômas</cite> include the Eclair
company's <cite>Nick Carter</cite> (1908-10) and <cite>Zigomar</cite> (1911-13).
The five episodes of <cite>Fantômas</cite> were based on a series
of 32 novels by Marcel Allain and Pierre Souvestre which tracked
the exploits of the elusive (insaisissable) eponymous criminal (René
Navarre) and his dogged pursuers, the detective Juve (Bréon)
and his ally Fandor (Georges Melchior), a journalist. The key term
here is elusive - even the final episode in a repeated structure
of chase, capture and escape leaves the criminal's fate open-ended.<br />
The production of <cite>Les Vampires</cite> was initiated when Gaumont
learned of the projected release in France of the American film
<cite>Les Mystères de New York</cite>, starring popular serial
heroine Pearl White of <cite>The Perils of Pauline</cite> fame. The structure
- based on the pursuit of a criminal gang, the Vampires, by
journalist Philippe Guérande (Edouard Mathé) -
is similar to that of <cite>Fantómas</cite>, but here the head
of the criminal gang changes with disconcerting frequency (in part,
no doubt, because of the difficulty of keeping actors during the
war years). The one consistent figure is jewel thief and prototypical
femme fatale Irma Vep, portrayed by Musidora.<br />
A typical reaction to these films is that of a critic in <cite>Hebdo-Film</cite>
(22 April 1916): "That a man of talent, an artist, as the director
of most of the great films which have been the success and glory
of Gaumont, starts again to deal with this unhealthy genre [the
crime film], obsolete and condemned by all people of taste, remains
for me a real problem." Feuillade's crime films were perceived
as old-fashioned and inartistic - unable to boost cinema's
status as 'art' or to confer it with bourgeois respectability (which
is precisely what endeared them to the Surrealists). The preoccupation
of French critics and film-makers in the 1910s and 20s was to elevate
cinema, especially French cinema - and the French saw their
own films as lacking the artistry and sophistication of Griffith
or DeMille - to the level of art. It was years before Feuillade's
films escaped the label of aesthetic backwardness, and as a result
until recently only a handful of theorists and historians (Richard
Abel, No'l Burch, Francis Lacassin, Annette Michelson, Richard Roud)
have examined his work closely.<br />
But responsibility for Feuillade's marginal status within film
history cannot be placed solely at the doorstep of past critics.
Rather, his film style is organised around an aesthetic of uncertainty
that makes his work unclassifiable in terms of the categories traditionally
applied to silent-era film-making. Early film is usually divided
into what historian Tom Gunning has called a "cinema of attractions"
and a "cinema of narrative integration". In the former,
the spectator is external to the story space, an effect created
by tableau staging, long takes and the essential autonomy of each
shot. The overall strategy is one of showing: the displaying of
events, tricks and scenes rather than the telling of, or immersion
in, a story. The 'trick' films of Georges Méliès provide
a clear example of this mode of film-making - even a film like
<cite>Le Voyage dans la lune</cite> (1902), with its clear-cut narrative
trajectory featuring a group of scientists' journey to the moon
and back, foregrounds the spectacle of the trip and the display
of adventures along the way rather than the story itself.<br />
Griffith, by contrast - the prime exponent of Gunning's "cinema
of narrative integration" - implements cinematic devices
(parallel editing, point-of-view shots, close-ups) to draw us into
the story space. Film form in this context becomes subordinate to
narrative drive - a feature perfected by 'classical' Hollywood
to the point where visual style is often said to be 'invisible'.
Though Griffith's films may utilise non-continuous elements -
moving across space, time and characters - the overall drive
is to create a unified sense of space and time, a coherent and cohesive
story world. Narrative is not just foregrounded in this process
but is a crucial component; it must provide adequate details (character
information and depth) and a particular trajectory to enhance the
effect. At the end of <cite>The Birth of a Nation</cite>, for instance,
the rescue by the Ku Klux Klan of South Carolina sweetheart Elsie
(Lillian Gish) from a forced marriage with black villain of the
piece Silas Lynch (George Siegmann) signals the unequivocal defeat
of evil and the rescue of Southern 'culture'. President Woodrow
Wilson described <cite>The Birth of a Nation</cite> as "like writing
history with lightning" in that the film seared its particular
version of history in its audience's and ultimately the national
consciousness.<br />
If <cite>The Birth of a Nation</cite> gives us history written "with
lightning", <cite>Les Vampires</cite> gives us history written by
a phantom. Neither a "cinema of attractions" nor a "cinema
of narrative integration", Feuillade's films offer us a cinema
of fluidity and uncertainty whose operation can be traced to three
factors: his investigation of cinema's recording function; the serial
narrative form; and his abstraction of the body as the site of cinematic
uncertainty. <br />
Feuillade's crime serials oscillate between and reach beyond the
"cinema of attractions" and "cinema of narrative
integration" models. As in the former, he uses long takes and
a stationary camera to create a tableau effect, with title cards
often providing the only break between successive, but spatio-temporally
consistent, tableaux. In other words, there is a minimum of cut-ins,
close-ups or movements between spaces (via the match cut) in his
narrative exposition and any cut-ins that do appear are rarely attached
to a particular point of view (which would position us within a
character's vision and knowledge), functioning rather as a more
or less 'objective' insertion of information. This is typically
how we are made aware of plot motors such as poison rings, hiding
spaces and means of escape. <br />
In a scene from <cite>Fantômas</cite>, for instance, we see the
criminal smash the bottom of a wine bottle in long shot and then
cut in to a close-up of the broken area of the bottle. There is
no close-up of the character's glance as he surveys the area, though
he does appear to turn slightly as if to put the information of
the broken bottle on display for the audience. This soon becomes
an important detail in the narrative when the criminal escapes the
police by hiding in a water tank and breathing with the aid of the
broken bottle. This act of display by Fantômas rather than
our alignment with his perspective is typical of the "cinema
of attractions" elements in Feuillade's film-making. Nonetheless,
examples of continuity editing can also be found, and their deployment
to link consecutive narrative units would seem to suggest a more
unified story space. But the problem becomes what we learn in that
story space.<br />
Feuillade's long takes, in conjunction with the deep space of a
detailed interior set or a Parisian city space, produce an effect
of the real. But this effect is quickly undone. For instance in
one of the many abduction sequences in <cite>Les Vampires</cite>, Philippe
Guérande hears a sound at his upstairs window. The first
shot of the sequence shows him at work in his office; he hears the
noise and goes to the window to investigate its cause. Then, in
a match cut, he moves through the window space to look outside,
in medium shot (shot 2). Suddenly a noose appears in the shot and
pulls Philippe downwards. As he falls we cut to a long shot (shot
3), in a perfect continuity match, in which we see Philippe's fall
to his captors. Shot 4 (in medium shot) shows the kidnappers catch
their prey (barehanded, no less), again in a continuity match. Every
aspect of this impossible fall and catch is tracked for us by the
camera in seemingly close detail. The cuts back and forth from medium
to long to medium shots facilitate the trick and the substitution
of a dummy for part of the fall does not hamper the sheer facticity
of the event we have witnessed. The cinema has shown us something
that is, in effect, impossible to see. And our faith in cinema's
record of the real, and the very relationship between vision and
knowledge, are thereby questioned.<br />
As with Griffith's "cinema of narrative integration",
the effect of the cinema of uncertainty is produced through the
interaction of visual elements and narrative form. While Feuillade's
crime films may appear to be consistent with certain narrative conventions
- as in Griffith's work it seems clear who is the criminal
and who is the force of the law - in fact a number of them
play with ambiguities concerning the identity of the real criminal.
At one point in <cite>Fantômas</cite> the detective Juve is suspected
of being the master criminal and even has an identifying wound only
the real criminal could have (which of course turns out to be a
false sign). At another point the criminal's tell-tale disguise
- his black bodysuit - is appropriated simultaneously
by two other characters as part of police efforts to trap Fantômas
at a costume party, so the ensuing chase presents us with three
figures dressed identically with no markers as to who should be
vanquished. Moreover, the serial form means that the pursuit of
criminality or evil is essentially an ongoing saga that can never
be completed; the capture of the criminal is not a moment of closure
but rather an opportunity to start the narrative anew, since capture
is invariably, and sometimes immediately, followed by escape. Rather
than a linear, goal-oriented story we have a narrative loop, and
one that is further complicated by character movements (whether
through misidentification or a particular character's ethical transformation)
between the criminal and law-abiding roles.<br />
A similar narrative pattern can be found in Jacques Rivette's <cite>Céline
et Julie vont en bateau</cite> (1974). Here the two women, who appear
to meet by chance, take turns to recount (repeatedly) a mystery
narrative. Each woman inserts herself in the same role within the
narrative, but near the end both appear in the mystery-story space
simultaneously. And this narrative loop is extended to the larger
framing story, since the film ends as it began with the two women
meeting by chance again, but with the roles of the encounter reversed.
(The film also offers a more direct homage to Feuillade when Céline
and Julie rollerskate by in black bodysuits - a reference to
<cite>Fantômas</cite> or an invocation of Musidora/Irma Vep from
<cite>Les Vampires</cite>.)<br />
Like Griffith's <cite>The Birth of a Nation</cite>, Feuillade's <cite>Les
Vampires</cite> can be read as a historical document. Here the uncertainty
within the visual field reflects a larger cultural anxiety -
France in 1915 was undergoing enormous cultural, social and technological
changes wrought by World War I and the related phenomenon of the
so-called new woman. It is no accident that the figure of criminality
in Feuillade's two most famous films ostensibly appears the same
- the black bodysuit - but changes sex (from male in <cite>Fantômas</cite>
to female in <cite>Les Vampires</cite>). To put it another way, it is
possible to see the body in its plain black casing as a negative
screen on which is projected a series of anxieties to do with the
cultural upheavals. This abstraction of anxiety is then displaced
once more by the substitution of Irma Vep for Fantômas, making
sexual difference the site of all differences, all anxieties. In
Olivier Assayas' <cite>Irma Vep</cite> (1996) the fictional director René
Vidal recognises that Irma is the central character in his remake
of Feuillade's <cite>Les Vampires</cite>. And much like Musidora, actress
Maggie Cheung, who plays herself in the film, becomes a blank screen
on which several of the characters project their anxieties and desires.<br />
Feuillade's use of the bodysuit for Musidora can be read as an
effort to fix the uncertainty, to stabilise the ongoing fluidity
at the level of narrative form and visual style. However, the previous
use of the suit by Fantômas, and the circulation of Musidora's
image beyond the textual boundaries of <cite>Les Vampires</cite>, shows
us that this is only one of many disguises - once again a phantom
screen presence.<br />
What Feuillade has done is to offer us an alternative cinematic
mode to Griffiths', one that continues in updated variants throughout
French cinema. It is predicated on a principle of uncertainty, on
a use of cinema that questions our understanding of the real. It
is as fluid and elusive a tradition as a cat burglar, dressed in
black on a night-time rooftop. - <a href="http://old.bfi.org.uk/sightandsound/feature/154">http://old.bfi.org.uk/sightandsound/feature/154</a><br />
<br />
Louis Feuillade was a prolific director of French silent films.
Feuillade worked in many genres, including comedy and realistic
dramas. But today he is most admired for his spectacular serials.
These often pitted master criminals against great detectives.
Feuillade's work is of very high quality, and is still gripping
and entertaining today.
<br />
A detailed discussion of Feuillade's staging technique, can be found in
David Bordwell's book, <i>Figures Traced in Light</i> (2005).
<br />
Some common subjects in the films of Louis Feuillade:
<br />
<ul>
<li>Sympathetic looks at social outsiders (heroine: <i>La Tare</i>, dwarf: <i>Le Nain</i>)
</li>
<li>Kidnapping, often in boxes (inventor: <i>Le Trust</i>, Juve and police kidnapped by gang: <i>Fantômas contre Fantômas</i>,
hero in Episode 5, switchboard operator in Episode 7, heroine in Episode 10: <i>Les Vampires</i>, Licorice Kid: <i>Judex</i>)
related (body hidden in trunk for shipping: <i>Fantômas - A l'ombre de la guillotine</i>, stolen body, Fandor hides in hamper: <i>Le Mort qui tue</i>)
</li>
<li>Conspiracies (stealing formula: <i>Le Trust</i>, <i>Les Vampires</i>, <i>Judex</i>)
</li>
<li>Loving parents and children (couple: <i>La Hantise</i>, Mazamette: <i>Les Vampires</i>, <i>Judex</i>)
</li>
<li>People waking up (fairy of the spring: <i>Le Printemps</i>, drugged secretary: <i>Le Trust</i>,
heroine: <i>Le Nain</i>, child: <i>La Hantise</i>,
drugged artist, drugged princess after robbery: <i>Le Mort qui tue</i>,
drugged Juve in prison: <i>Fantômas contre Fantômas</i>)
</li>
<li>Heroes who live with their mothers (<i>Le Nain</i>, <i>Les Vampires</i>)
</li>
<li>Spying on people (telephone exchange: <i>Le Nain</i>,
hiding in radiator: <i>Juve contre Fantômas</i>,
undercover police always monitor big parties: <i>Le Mort qui tue</i>,
listening through floor in apartment upstairs in Episode 9: <i>Les Vampires</i>, mirror surveillance technology: <i>Judex</i>)
</li>
<li>Crooked financiers who exploit the public (<i>Le Trust</i>, <i>Judex</i>)
related (phony banker: <i>Le Mort qui tue</i>, crooked businessman Moche: <i>Fantômas contre Fantômas</i>)
</li>
</ul>
Surreal disruptions:
<br />
<ul>
<li>Strange eruptions of bizarre events into daily life (elephant on Paris streets: <i>Bout de Zan vole un éléphant</i>,
wine barrels and shooting: <i>Juve contre Fantômas</i>,
blood coming from wall: <i>Fantômas contre Fantômas</i>)
</li>
<li>Parties that are attacked destructively (orgy: <i>L'orgie romaine</i>,
sugar trader's engagement party: <i>Le Mort qui tue</i>,
costume ball: <i>Fantômas contre Fantômas</i>,
gas attack in Episode 5, poisoned wedding dinner in Episode 9, police raid on crooks' wedding in Episode 10: <i>Les Vampires</i>)
related (attack on deadline in Prologue: <i>Judex</i>)
</li>
<li>Social events that develop into strangeness (dinner party: <i>Le Récit du colonel</i>,
luncheon: <i>Bout de Zan vole un éléphant</i>)
</li>
</ul>
Identity:
<br />
<ul>
<li>People and animals intergrading in behavior or appearance (woman fairies with wings: <i>Le Printemps</i>,
statute of Sphinx is half-human and half-animal: <i>La Nativité</i>,
elephant does human tasks: <i>Bout de Zan vole un éléphant</i>,
humans wearing spines to ward off snakes: <i>Juve contre Fantômas</i>,
flying in bat costume: <i>Les Vampires</i>, smart dogs: <i>Judex</i>)
related (husband tampering with horse and looks similar: <i>Erreur tragique</i>)
</li>
<li>People linked to mythology (water fairy: <i>La Fée des grèves</i>, nymphs: <i>Le Printemps</i>, Water Goddess: <i>Judex</i>)
</li>
<li>Criminals impersonating cops (fake investigator searches pension: <i>Le Mort qui tue</i>,
Tom Bob the American detective: <i>Fantômas contre Fantômas</i>,
Episode 5: <i>Les Vampires</i>)
</li>
<li>Cops impersonating crooks (Juve and police officers: <i>Fantômas contre Fantômas</i>)
</li>
<li>People with multiple identities (Fantômas changes disguise to bellboy in elevator: <i>Fantômas - A l'ombre de la guillotine</i>,
Fantômas changes disguise and identity during car ride: <i>Juve contre Fantômas</i>,
Fantômas as banker, Juve undercover: <i>Le Mort qui tue</i>,
Fantômas: <i>Fantômas contre Fantômas</i>,
Fantômas as justice, Juve as prison visitor, crook as priest: <i>Le Faux magistrate</i>,
Grand Vampire, Irma Vep: <i>Les Vampires</i>, hero: <i>Judex</i>)
related (heroine's hidden past: <i>La Tare</i>)
</li>
<li>Shots recreating famous paintings of historical events, but with Feuillade's characters
(Jacques-Louis David's <i>The Oath of the Horatii</i>, Emanuel Leutze's <i>Washington Crossing the Delaware</i>: <i>Judex</i>)
</li>
<li>Anonymous gifts (play: <i>Le Nain</i>, clothes for prison escape: <i>Le Faux magistrate</i>, ring: <i>Les Vampires</i>)
</li>
<li>Identity theft (using strange gloves: <i>Le Mort qui tue</i>,
impersonation in Episode 1, through sound recording in Episode 7: <i>Les Vampires</i>)
</li>
</ul>
Technology:
<br />
<ul>
<li>High technology, used by villains (gas: <i>Le Trust</i>,
strange gloves: <i>Le Mort qui tue</i>,
tampering with gas fire: <i>Le Faux magistrat</i>,
gas in Episode 5, sound recording and switchboard in Episode 7, cannon in Episode 8, gas in Episode 10: <i>Les Vampires</i>)
</li>
<li>High technology, used by heroes, especially with laboratories or tech locales (ship radio room: <i>Le Trust</i>,
telephone exchange: <i>Le Nain</i>,
police anthropometry lab, fingerprints used by police, photography at crime scenes, hospital room: <i>Le Mort qui tue</i>,
prison light control panel: <i>Le Faux magistrat</i>,
lab: <i>Judex</i>)
</li>
<li>Unusual phones (phone on wall near bed: <i>Le Nain</i>, two-receiver phone: <i>Judex</i>)
</li>
<li>Telegrams (<i>Le Trust</i>, <i>La Hantise</i>, fake telegram from Fandor: <i>Juve contre Fantômas</i>, Episodes 1, 9: <i>Les Vampires</i>)
</li>
<li>Flashing, regularly repeating lights (ship radio room: <i>Le Trust</i>, Eiffel tower: <i>La Hantise</i>,
code message from lights sent to Fantômas in prison: <i>Le Faux magistrat</i>,
letters of fire: <i>Judex</i>)
</li>
<li>Attacks on pseudo-science (expose of palmistry: <i>La Hantise</i>, medium in Episode 10: <i>Les Vampires</i>)
</li>
<li>Sympathetic technologist characters (inventor: <i>Le Trust</i>, doctor and nurse in hospital: <i>Le Mort qui tue</i>,
hero and lab: <i>Judex</i>)
</li>
<li>Going to the movies (<i>Erreur tragique</i>, <i>Les Vampires</i>)
related (text projected on screen in theater: <i>Le Nain</i>,
reporters include newsreel camera man in Episode 6: <i>Les Vampires</i>)
</li>
<li>Hiding places (document in blotter: <i>Le Mort qui tue</i>,
body plastered into wall, loot in floor cavity: <i>Fantômas contre Fantômas</i>,
jewels in bell: <i>Le Faux magistrat</i>,
cavity behind sliding painting in Episode 1: <i>Les Vampires</i>)
</li>
<li>Streetcars (Paris: <i>Juve contre Fantômas</i>, Louvain: <i>Le Faux magistrat</i>)
</li>
</ul>
Water:
<br />
<ul>
<li>Large bodies of water (Titanic at sea: <i>La Hantise</i>, Fandor pushed into river from sewer outlet: <i>Le Mort qui tue</i>)
</li>
<li>Women and moving water (nymph of the spring: <i>Le Printemps</i>, Musidora and water mill, the Water Goddess: <i>Judex</i>)
</li>
</ul>
Staging:
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<ul>
<li>Shadows (Episode One: <i>Judex</i>)
</li>
<li>Silhouettes (man leaving theater: <i>Fantômas - A l'ombre de la guillotine</i>,
after explosion: <i>Juve contre Fantômas</i>, sewer attack: <i>Le Mort qui tue</i>)
</li>
<li>Mirrors (dressing room mirror within mirror: <i>Les Vampires</i>, mirror surveillance technology: <i>Judex</i>)
</li>
<li>Depth staging (entrance of Juve in double door, theater: <i>Fantômas - A l'ombre de la guillotine</i>,
restaurant: <i>Juve contre Fantômas</i>, party, sewer: <i>Le Mort qui tue</i>,
party: <i>Fantômas contre Fantômas</i>, ballet theater in Episode 2 <i>Les Vampires</i>)
</li>
<li>Still women and moving trains (Irma Vep under train: <i>Les Vampires</i>, mother saying goodbye: <i>Judex</i>)
</li>
<li>Women dancing (<i>Le Printemps</i>,
couples in restaurant: <i>Juve contre Fantômas</i>,
couples doing tango and waltz: <i>Le Mort qui tue</i>,
couples dancing at ball: <i>Fantômas contre Fantômas</i>,
ballet, Irma Vep dancing, dancing at crooks' wedding in Episode 10: <i>Les Vampires</i>)
</li>
</ul>
Camera Movement:
<br />
<ul>
<li>Pans (hotel entrance, across room: <i>Fantômas - A l'ombre de la guillotine</i>,
over to telegraph office: <i>Juve contre Fantômas</i>,
in studio over to corpse and back to door, in Rue Lacourbe building as Fandor discovers corpse: <i>Le Mort qui tue</i>,
through wall in two hotel rooms, tailing in street in Louvain, street car in Louvain: <i>Le Faux magistrat</i>,
Musidora swims in Episode 5: <i>Judex</i>)
</li>
<li>Vertical movements (up ladder in belfry: <i>Le Faux magistrat</i>)
</li>
<li>Moving camera shots down roads (panicked horses: <i>Erreur tragique</i>,
two people on horse in Episode 6, car in Episode 9, car leaking oil, bicycle in Episode 10: <i>Les Vampires</i>,
dogs and car: <i>Judex</i>)
</li>
<li>Forward movement from fixed shots in moving vehicle (man walks along edge of moving train: <i>Le Faux magistrat</i>,
hero and unconscious heroine in boat Episode 5: <i>Judex</i>)
</li>
</ul>
Architecture:
<br />
<ul>
<li>Double doors, one open, one shut (<i>La Tare</i>, <i>Le Trust</i>, many rooms: <i>La Hantise</i>,
hotel room, living room, Gurn's home: <i>Fantômas - A l'ombre de la guillotine</i>,
Juve's office: <i>Juve contre Fantômas</i>,
investigating judge's office, newspaper office: <i>Le Mort qui tue</i>,
police station: <i>Fantômas contre Fantômas</i>,
Marquis' home, judge's office: <i>Le Faux magistrat</i>,
opening shot, exterior at magistrate's building: <i>Les Vampires</i>, <i>Judex</i>)
</li>
<li>Rows of doors, along a building, corridor or train (train, walk along moving train edge: <i>Le Faux magistrat</i>,
ballet theater exits in Episode 2. apartment in Episode 10: <i>Les Vampires</i>,
Vallieres apartment hall, train and station in Episode 3: <i>Judex</i>)
</li>
<li>Hallways with doors (pension: <i>Le Mort qui tue</i>, Moche's building: <i>Fantômas contre Fantômas</i>,
Saint-Calais Palais de Justice: <i>Le Faux magistrat</i>)
</li>
<li>Other repeating modular rows of architecture (row of train windows, row of cellar windows: <i>Juve contre Fantômas</i>,
sidewalk cafe with repeating tables and decor: <i>Fantômas contre Fantômas</i>)
</li>
<li>Strange rapid stunts involving people exiting from high windows or balconies
(kidnapping of hero from his apartment, of heroine in Episode 10: <i>Les Vampires</i>, Little Jean's rescue from Cocantin's apartment: <i>Judex</i>)
</li>
<li>Polygonal rooms, with cut-off corners (investigating judge's office: <i>Le Mort qui tue</i>,
dressing room in Episode 2, apartment upstairs in Episode 9: <i>Les Vampires</i>,
mother's room as teacher, Giselle's: <i>Judex</i>)
related shapes (window in hotel room door in Episode 6: <i>Les Vampires</i>, writing pad in Episode 5: <i>Judex</i>)
</li>
<li>People climbing up or down sides of buildings, or on roofs
(roof of Palais de Justice: <i>Le Mort qui tue</i>,
last stage of workmen climbing down scaffolding: <i>Fantômas contre Fantômas</i>,
end of Episode 1, Episode 9, rolling down on rope, garden wall in Episode 10: <i>Les Vampires</i>,
Musidora's descent down mill: <i>Judex</i>)
</li>
<li>Diagrammatic, non-realistic architecture (Fandor climbs down chimney: <i>Le Mort qui tue</i>)
</li>
<li>Deserted architecture, often at twilight (Episode 1: <i>Judex</i>)
</li>
<li>Large building facades (construction site: <i>La Tare</i>, chateau: <i>Erreur tragique</i>,
steps outside train station, bookstore and shops, telegraph office: <i>Juve contre Fantômas</i>,
Palais de Justice steps: <i>Le Mort qui tue</i>,
Palais de Justice in Saint-Calais, prison, wall and gate of prison: <i>Le Faux magistrat</i>,
Dr. Nox's chateau, magistrate's in Episode 1, wall and chateau in Episode 9, Avenue, crooks' house in Episode 10: <i>Les Vampires</i>)
</li>
</ul>
Geometry:
<br />
<ul>
<li>Spiral metal work (bed in ward: <i>La Tare</i>,
gates: <i>Erreur tragique</i>,
top of fence at Beltham mansion: <i>Fantômas - A l'ombre de la guillotine</i>,
top of grillwork outside sidewalk cafe: <i>Juve contre Fantômas</i>,
street doors of Rue Lacourbe hideout: <i>Le Mort qui tue</i>,
gates in Episode 1, wall decoration, gates in Episode 10: <i>Les Vampires</i>,
door, gates: <i>Judex</i>)
</li>
<li>Helix (chair spokes in artist's studio: <i>Le Mort qui tue</i>)
</li>
<li>People sticking out their arms to make X shapes (Fantômas after explosion: <i>Juve contre Fantômas</i>, Irma Vep dance in Episode 8: <i>Les Vampires</i>)
</li>
<li>Circles (photo of actress: <i>Le Nain</i>,
pavement circles around Paris street trees, barrels in shoot-out, vat: <i>Juve contre Fantômas</i>,
masked view of roof through binoculars, curb after Palais, wall plaque in artist's studio: <i>Le Mort qui tue</i>,
masked view of cellar, barrel hiding Fandor in cellar: <i>Fantômas contre Fantômas</i>,
curved tracks of street-cars, round tower at prison gate: <i>Le Faux magistrat</i>,
building windows and arches in Episode 1: <i>Les Vampires</i>)
</li>
<li>Triangles (chimneys on Palais de Justice roof, composition with stair in Rue Lacourbe: <i>Le Mort qui tue</i>,
wall worker's ladder and sawhorse, ladders in abandoned quarry, chains in quarry pit, stair in quarry cellar: <i>Fantômas contre Fantômas</i>)
</li>
</ul>
Sets:
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<ul>
<li>Men with desks (doctor, heroine: <i>La Tare</i>, good businessman, private eye: <i>Le Trust</i>,
hero: <i>Le Nain</i>, hero: <i>La Hantise</i>,
Juve: <i>Fantômas - A l'ombre de la guillotine</i>,
Juve: <i>Juve contre Fantômas</i>,
investigating judge: <i>Le Mort qui tue</i>,
crooked businessman Moche, police chief, police interrogator: <i>Fantômas contre Fantômas</i>,
judges: <i>Le Faux magistrate</i>,
editor, Dr. Nox, hero at home, Satanas: <i>Les Vampires</i>,
Judex: <i>Judex</i>)
</li>
<li>Good organizations using common tables (clinic: <i>La Tare</i>, reporters: <i>Le Mort qui tue</i>,
reporters: <i>Fantômas contre Fantômas</i>,
reporters in Episode 1: <i>Les Vampires</i>)
related (dinner party: <i>Le Récit du colonel</i>, wedding dinner in Episode 9: <i>Les Vampires</i>)
</li>
<li>People hide behind curtains (lost finale: <i>La Hantise</i>,
princess' room, rendezvous with actor: <i>Fantômas - A l'ombre de la guillotine</i>,
art studio, princess' boudoir: <i>Le Mort qui tue</i>,
hero in magistrate's office in Episode 1, medium, Mazamette in Episode 10: <i>Les Vampires</i>)
</li>
</ul>
Writing:
<br />
<ul>
<li>Letters (text projected on screen in theater: <i>Le Nain</i>,
letters on card that appear, initials in hat and address book: <i>Fantômas - A l'ombre de la guillotine</i>,
anonymous message of cut-out letters: <i>Le Mort qui tue</i>,
animated anagrams, invisible writing appears in Episode 9: <i>Les Vampires</i>, letters of fire: <i>Judex</i>)
</li>
</ul>
Costumes:
<br />
<ul>
<li>People in related-but-different clothes, often with degrees of formality
(white tie and tuxedo at party: <i>La Hantise</i>,
Juve and Fandor at restaurant: <i>Juve contre Fantômas</i>,
policeman and sugar trader at party: <i>Le Mort qui tue</i>,
villain and hero at ballet: <i>Les Vampires</i>, Judex and brother: <i>Judex</i>)
</li>
<li>Men's evening wear (villains in tuxedos with masks: <i>Le Trust</i>, white tie and tuxedo at party: <i>La Hantise</i>,
(white tie and tuxedo at restaurant: <i>Juve contre Fantômas</i>,
white tie and tuxedo at party: <i>Le Mort qui tue</i>,
hero in tuxedo in Episode 1, men at ballet in white tie: <i>Les Vampires</i>, Judex in tuxedos: <i>Judex</i>)
</li>
<li>Men's top hats and canes (guests get them when leaving party at end: <i>Le Récit du colonel</i>,
men get top hats and canes after theater performance: <i>Le Nain</i>,
Juve's cane: <i>Fantômas - A l'ombre de la guillotine</i>,
Juve and Fandor's top hats in restaurant, Fandor's cane: <i>Juve contre Fantômas</i>,
Fandor's cane while escorting woman on street: <i>Le Mort qui tue</i>,
hero's cane in Episode 1, villain's top hat in Episode 2, Moreno's cane in Episode 7: <i>Les Vampires</i>, Vallieres' top hat and cane: <i>Judex</i>)
</li>
<li>Men's cloaks (actor: <i>Fantômas - A l'ombre de la guillotine</i>,
Fantômas over body suit: <i>Le Mort qui tue</i>,
reporter when impersonating Fantômas: <i>Fantômas contre Fantômas</i>,
villain with evening clothes in Episode 2: <i>Les Vampires</i>,
hero: <i>Judex</i>)
</li>
<li>Body suits or stockings, all-black (Fantômas: <i>Juve contre Fantômas</i>,
villains: <i>Le Mort qui tue</i>, Fantômas, impersonators of Fantômas: <i>Fantômas contre Fantômas</i>,
black in Episodes 1, 2, dancers in Episode 10: <i>Les Vampires</i>)
</li>
<li>Body coverings, all-white (doctor, nurse, patient Fandor: <i>Le Mort qui tue</i>,
workers' white coats: <i>Fantômas contre Fantômas</i>,
white lab coats and masks in Episode 9: <i>Les Vampires</i>,
banker in white shroud: <i>Judex</i>)
</li>
<li>Hoods (villains: <i>Le Mort qui tue</i>, kidnapper at window in Episode 10: <i>Les Vampires</i>)
</li>
<li>Women's shawls or wraps that can be spread out or closed up (bat costume, Irma Vep's shawl in dance: <i>Les Vampires</i>)
</li>
<li>Kohl (that dark stuff Musidora wears as eye shadow) - <a href="http://mikegrost.com/feuillad.htm">http://mikegrost.com/feuillad.htm</a></li>
</ul>
</div>
zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-34445196649692866842018-10-23T10:05:00.002-07:002018-10-23T10:05:16.235-07:00Thierry Kuntzel - Nostos I (1979)<div dir="ltr" style="text-align: left;" trbidi="on">
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<a data-cthref="http://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjvhPH2g53eAhXN_qQKHeUYDJIQjRx6BAgBEAU&url=http%3A%2F%2Fwww.cecileorsoni.com%2Fphoto-et-video%2Fvers%2F&psig=AOvVaw2nlU4YrC4fu0pDlChTTvTw&ust=1540400152780480" data-ved="2ahUKEwjvhPH2g53eAhXN_qQKHeUYDJIQjRx6BAgBEAU" href="http://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjvhPH2g53eAhXN_qQKHeUYDJIQjRx6BAgBEAU&url=http%3A%2F%2Fwww.cecileorsoni.com%2Fphoto-et-video%2Fvers%2F&psig=AOvVaw2nlU4YrC4fu0pDlChTTvTw&ust=1540400152780480" id="irc_mil" jsaction="mousedown:irc.rl;focus:irc.rl;irc.il;" style="border-image: none; border: 0px currentColor;"><img alt="Related image" id="irc_mi" src="http://www.cecileorsoni.com/wp-content/uploads/2014/09/prog6375116.jpg" style="margin-top: 0px;" /></a><a data-cthref="/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjO49Wcg53eAhWQM-wKHY3KAbgQjRx6BAgBEAU&url=https%3A%2F%2Fwww.eai.org%2Ftitles%2Fnostos-i&psig=AOvVaw110vODF2lmb-x5UW1w18kU&ust=1540399969280872" data-ved="2ahUKEwjO49Wcg53eAhWQM-wKHY3KAbgQjRx6BAgBEAU" href="https://www.google.com/url?sa=i&rct=j&q=&esrc=s&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwjO49Wcg53eAhWQM-wKHY3KAbgQjRx6BAgBEAU&url=https%3A%2F%2Fwww.eai.org%2Ftitles%2Fnostos-i&psig=AOvVaw110vODF2lmb-x5UW1w18kU&ust=1540399969280872" id="irc_mil" jsaction="mousedown:irc.rl;focus:irc.rl;irc.il;" style="border-image: none; border: 0px currentColor;"></a><br />
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<strong><span style="font-size: large;">Tragovi koje sjećanje ostavlja za sobom, gubi ih, ponovo nalazi i umnaža, uzbuđenje i bol sjećanja, vremena koje se kreće u svim smjerovima.</span></strong><br />
<strong><span style="font-size: large;">Da, avangardni film je najavio način na koji danas funkcionira - novac.</span></strong><br />
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<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/qdYl0nMMwDI" width="560"></iframe>
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<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/vfev7Tjk_h4" width="560"></iframe>
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/gpbBSOYDyds" width="560"></iframe>
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/Wos76zinIJo" width="560"></iframe>
<iframe allow="autoplay; encrypted-media" allowfullscreen="" frameborder="0" height="315" src="https://www.youtube.com/embed/PoWiwYMSGSU" width="560"></iframe>
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I read the partial translation of Thierry Kuntzel's notebooks (in part) 8 years ago, and in total a few years ago. I find him a fascinating thinker. I've not read his full (theoretical) essays yet because I'm not entirely convinced that they'll satisfy my interests, but I love his notebooks and his way of thinking creatively aligns wonderfully with mine.<br />
Until this, I'd never been able to see any of his films in total. There are clips of most of his oeuvre included on a DVD-ROM that comes with the notebooks, but they make it truly hard to get an impression of the work. The writing about <i>Nostos I</i> is fascinating, the clip I had seen not so much.<br />
However, the video in total is actually truly wonderful. It achieves a true sense of oneircism just by the silent hypnotic ennui it lulls you into as a viewer. The first time the camera shifts away from the image seen in the poster is truly shocking, and from there the film becomes a beautiful rorscharch test of figuration, moving around the frame of video and somehow magically creating an atmosphere of intensity. Not an easy film by any means, and having seen it I can almost understand an influence, perhaps, on Grandrieux's Unrest trilogy (Grandrieux worked with Kuntzel in the early 80s, which is how I first heard of Kuntzel). A wonderful work. - <strong>Mike Kitchel</strong><br />
<a href="https://letterboxd.com/murdermystery/film/nostos-i/"><span style="color: #3d85c6;">https://letterboxd.com/murdermystery/film/nostos-i/</span></a><br />
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Pervaded with references to Max Ophuls' classic film <i>Letter From an Unknown Woman, Nostos I</i> uses video to explore obsession, the imaginary and memory, relating the cinematic apparatus and the psychical apparatus. Kuntzel describes this work: "<strong>Three people, or rather three silhouettes of rare objects — frames, windows perhaps, a[n] illustrated manuscript — and a few minimal actions: pages being leafed through, someone sitting down, someone lying down, getting up, crossing a space, lighting a cigarette, a head turning, a mouth opening, someone looking around. There is hardly any representation in <i>Nostos I:</i> just enough to tip-toe around the edges of analogy, illusion, under the image and in between images.</strong>" Unfolding as memory traces and dream images, figures and objects appear and disappear, decompose and recompose; disjointed fragments evolve in continuous transformation and manipulations of light and time. Raymond Bellour refers to the "traces that memory leaves behind, wipes out and recaptures again, the agitation and pain of a memory at work... The spectator, projected outside himself, comes to experience the functioning of his own mind." - <a href="https://www.eai.org/titles/nostos-i"><span style="color: #3d85c6;">https://www.eai.org/titles/nostos-i</span></a><br />
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French film theorist and videomaker Thierry Kuntzel, whose distinguished writings are among the major contributions to the textual analysis of film, also produced an original body of videotapes and installations. Kuntzel's theoretical texts propose significant applications of psychoanalytical and semiological constructs as elaborations of the relation of the filmic and psychical apparatuses. Among the concepts that he elucidated in the context of the cinema are condensation and displacement, defilement, the imaginary and the unconscious, the "dream-work" and the film-work. <br />
In the late 1970s, Kuntzel shifted from the analysis of film to the production of video. Minimalist in representation yet richly layered in suggestive content, works such as <i>Nostos I</i> (1979), <i>Time Smoking a Picture</i> (1980) and <i>Le peintre cubiste</i> (1981) use video to uncover the essence of the perception of reality and representation, memory and the unconscious, in relation to the codes of cinema, photography and painting. Employing the transformative potential of video technology, these evocative works unfold as elusive, implied fictions, visualizations of shifting passages of time, light and movement. <br />
Raymond Bellour has observed that for Kuntzel, video becomes a medium analogous to Freud's "magic writing pad," a means of transcribing the unconscious processes of the psychical and the real. His tapes are informed by use of the <i>paluche</i> — a miniature, portable camera that functions as an extension of the hand, rather than the eye. Indeed, Bellour has written that it was the "paluche, and its 'writerly,' even calligraphic, qualities that inspired Kuntzel to make the leap from film theory to video art." Grounded in discursive theory, Kuntzels' video works also resonate with a haunting poetry. <br />
Kuntzel was born in 1948 in Bergerac, France, and died in 2007. He studied philosophy, linguistics and semiotics with Roland Barthes and Christian Metz at l'Ecole des Hautes Etudes en Sciences Sociales, where he earned a doctorate. He was head of the Research Division of both the French Radio and Television Office (ORTF) and Institut National de la Communication Audiovisuelle. He produced a number of experimental video works in conjunction with the Departement des Programmes at the Institut National de l'Audiovisuel in Paris. Kuntzel taught semiotics of cinema and textual analysis of film at the University of Paris; the Centre d'Etudes Americain du Cinema, Paris; and the State University of New York, Buffalo, among other institutions. His writings have been widely published, appearing in such journals as <i>Camera Obscura</i>, <i>Revue d'Esthetique,</i> <i>Communications,</i> and <i>Quarterly Review of Film Studies.</i> His video work was the subject of a 1984 retrospective at the Centre Georges Pompidou, Paris, and has been exhibited internationally at festivals and institutions, including the University Art Museum, Berkeley, California; Paris Biennale; American Center, Paris; The Museum of Modern Art, New York; and the Stedelijk Museum, Amsterdam. Kuntzel lived in Paris until his death in 2007.<br />
<a href="https://www.eai.org/artists/thierry-kuntzel/biography"><span style="color: #3d85c6;">https://www.eai.org/artists/thierry-kuntzel/biography</span></a><br />
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about "Venises":<br />
<a href="http://www.kibla.org/en/sections/kibela-space-for-art/archive/kibela-arhiv/2008/thierry-kuntzel-venisesgilles-zabava-ob-kibelinem-9-rojstnem-dnevu-eng/"><span style="color: #3d85c6;">http://www.kibla.org/en/sections/kibela-space-for-art/archive/kibela-arhiv/2008/thierry-kuntzel-venisesgilles-zabava-ob-kibelinem-9-rojstnem-dnevu-eng/</span></a><br />
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Thierry Kuntzel: <a href="https://www.sabzian.be/article/sunrise-a-song-of-two-humans">Sunrise: A Song of Two Humans</a><br />
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-75922486166878481052018-10-23T06:52:00.005-07:002018-10-23T06:52:52.452-07:00Peter Liechti - Signers Koffer: Unterwegs mit Roman Signer (1995)<div dir="ltr" style="text-align: left;" trbidi="on">
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<span id="result_box" lang="en"><strong><span style="font-size: large;">Peter Liechti prati švicarskog konceptualnog umjetnika i trickstera Romana Signera na njegovu putovanju Europom, a taj ga zaista od svega radi instalaciju, iliti "vremenske skulpture".</span></strong></span><br />
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SIGNERS KOFFER is a kind of road movie across Europa. From the Swiss Alps to eastern Poland, from Stromboli to Iceland. Always following the scenery’s magically charged contours. Immersing yourself, letting yourself be infected, then travelling on. Roman Signer determines the route that we are moving on and the film improvises along the way. Being on the road also means tracking down the right places. Signer brings them alive using his own personel instruments, brilliantly simple operations full of subtle humour. «Simple» poems being transmitted into space with INSTRUMENTS as gunpowder, fuse, rubber boots, balloons, stool, small table … and a three wheelded Plaggio. SIGNERS KOFFER is also a journey through the state of mind. A tightrope walk between fun and melancholy. Danger also mental mental danger becomes the stimulus of the senses. Sudden crashes, abrupt chagnes of mood determine the rythm and atmosphere of this cinematic journey. <br />
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Swiss artist <br />
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Roman Signer might at first be thought of as 'artist as trickster.' For years he has probed simple phenomena, properties of the physical world, and the artist's relationship to often surreal realities of corporeal existence.
"Signer adds a further dimension to the concept of sculpture as we know it, a medium which, in the course of the ongoing subversion of traditional boundaries launched upon in the 1960s, had already been expanded to include unconventional materials and actions. Put simply, he examines the basic elements of fire, water and air in terms of their sculptural qualities, albeit not in the manner of Land Art, which tends to effect an overt rearrangement of natural materials within or upon the landscape."
The work, Old Shatterhand, like many of his videos, films, performances, and photographs, is downright slapstick in its simplicity, complex in its implications and ultimately indicative of the problems that we all face as we move through the world. No matter how hard we try, we can't shoot the can...
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-5928149223660799842018-09-26T03:21:00.001-07:002018-09-26T03:21:26.977-07:00Foma Jaremstchuk: An Art Brut Master Revealed<div dir="ltr" style="text-align: left;" trbidi="on">
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<strong><span style="font-size: large;">Ako je cijeli svijet mentalna bolnica...</span></strong><br />
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<a href="https://www.cvltnation.com/hallucinatory-disturbing-artistic-universe-foma-jaremtschuk/">https://www.cvltnation.com/hallucinatory-disturbing-artistic-universe-foma-jaremtschuk/</a><br />
<a href="http://crnahronika.com/">http://crnahronika.com/</a><br />
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"Foma Jaremtschuk was born in a remote village in Siberia in 1907. He never learned to draw and completed only elementary education in a rural primary school, leaving after his 3rd grade. Nothing is known about his early years, and only from the age of 29 can his history be traced. He was one of many victims of the Stalinist regime, after being accused of slander against the USSR in 1936, he was sent to a labour camp. In 1947 he was found to be mentally ill, schizophrenia being the likely diagnosis, and was moved from the labour camp to a mental hospital for the insane. During this period, and up until 1963, Jaremtschuk produced hundreds of profoundly disturbing, yet highly accomplished drawings, which portrayed his inner hallucinatory world, using whatever materials he could find. Fortunately for posterity these drawings were kept by his doctor, otherwise this extraordinary artist's work would never have surfaced. No work after this period have been found, and as his health deteriorated, he was transferred to a hospital for the seriously ill, and those whose mental health was such, as to be felt untreatable, he died there in 1986.<br />
Jaremtschuk is that rare example of a classic art brut artist, one who was forced to exist in an isolated community away from the influence of the world and art history, hence these dark mesmeric drawings have only come to the public's attention in recent years.<br />
The book 'Foma Jaremstchuk: An Art Brut Master Revealed', will be published on the 17th February. Essay by Colin Rhodes, 120 full page colour reproductions, and translations of 'mirror writing' text. <br />
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His work is represented in several important museum & public collections, including recent acquisitions by the Treger Saint Silvestre Collection, Portugal, and will be shown for the very first time in America at the 2017 Outsider Art Fair." - Henry Boxer Gallery<br />
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Foma Jaremtschuk was born in a remote village in Siberia in 1907. He never learned to draw and completed only elementary education in a rural primary school, leaving after his 3rd grade. Nothing is known about his early years, and only from the age of 29 can his history be traced. He was one of many victims of the Stalinist regime, after being accused of slander against the USSR in 1936, he was sent to a labour camp. In 1947 he was found to be mentally ill, schizophrenia being the likely diagnosis, and was moved from the labour camp to a mental hospital for the insane. During this period, and up until 1963, Jaremtschuk produced hundreds of profoundly disturbing, yet highly accomplished drawings, which portrayed his inner hallucinatory world, using whatever materials he could find. Fortunately for posterity these drawings were kept by his doctor, otherwise this extraordinary artist's work would never have surfaced. No work after this period have been found, and as his health deteriorated, he was transferred to a hospital for the seriously ill, and those whose mental health was such, as to be felt untreatable, he died there in 1986.<br />
Jaremtschuk is that rare example of a classic art brut artist, one who was forced to exist in an isolated community away from the influence of the world and art history, hence these dark mesmeric drawings have only come to the public's attention in recent years.<br />
The book 'Foma Jaremstchuk: An Art Brut Master Revealed', will be published on the 17th February. Essay by Colin Rhodes, 120 full page colour reproductions, and translations of 'mirror writing' text. Order the book HERE<br />
His work is represented in several important museum & public collections, including recent acquisitions by the Treger Saint Silvestre Collection, Portugal, and will be shown for the very first time in America at the 2017 Outsider Art Fair.<br />
<a href="http://www.outsiderart.co.uk/artists/foma-jaremtschuk">http://www.outsiderart.co.uk/artists/foma-jaremtschuk</a><br />
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Author: Colin Rhodes</div>
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Foma Jaremtschuk spent most of his life in the Soviet Gulag. He was at first interned in a Siberian labour camp, and subsequently in psychiatric facilities, where he died in 1986. Some time in the 1950s and early 1960s, while under the care of Professor Mikhail Kutanin, Head of the Saratov Psychiatric Clinic, Jaremtschuk produced a remarkable body of drawings. Though completely untrained and using only the simplest of materials, he created a pictorial universe that is utterly compelling; at once horrific and a thing of terrible beauty. His cast of characters include large female guards and nurses, deformed doctors and orderlies, and a vast array of grotesque people and creatures that are hybrids of human, animal and machine. Often, these images are punctuated with fragments of angry and accusatory text that characteristically tumble into a kind of indistinct textual mumble, or develop into little rhymes, the charming simplicity of which jars with profane content.<br />
We know very little about the artist from the official record. He was born in a remote Siberian village in 1907, completed only three grades in a rural primary school, and in 1936 he was arrested and sent to a camp. It is likely that he was one of the more than two million kulaks (peasants) who were accused, in dubious circumstances, of opposing Soviet policy and who suffered a similar fate in that decade. Jaremtschuk’s drawings speak eloquently of the appalling experience of life in the camps, as endured by him and more than 20 million other zeks (prisoners in labour camps) over half a century. Though his images regularly spill over into surreal fantasy, they are nevertheless also chillingly realistic reports. Conditions in labour camps were extraordinarily harsh. Prisoners had no humanity or individuality. They were a workforce commodity who were worthless unless they were making a profit for the state. Writing in 1938, the procurator of the USSR, Andrei Vishinsky observed that, “Among the prisoners there are some so ragged and lice-ridden that they pose a sanitary danger to the rest. These prisoners have deteriorated to the point of losing any resemblance to human beings. Lacking food ... they collect orts [refuse] and, according to some prisoners, eat rats and dogs.” (1)<br />
People like this appear time and again in drawings by Jaremtschuk. In one picture, a large female guard is covered with massive bed bugs and ticks. They seem to feed on the awesome power she appears to have gained from Communist Party membership – part of the text on the drawing reads, “the woman felt the taste of force – mighty communist force you can eat lard and piss on everyone.” Similarly, there is an awful poignancy in an image of a concertina-playing zek and a naked man, standing with his face raised to the sky. Both cling to their humanity, seemingly oblivious to the figures reduced to dog-like creatures that gather around them. In addition to becoming animalised, Jaremtschuk’s characters are often opened up like medical illustrations, so that viewers (the authorities, everyone) can see everything that is going on in the normally private interior of the body, both physically and in their thoughts. Technology, animals, fish and fungal growths participate in this invasive tearing open of bodies that somehow still cling to life.<br />
The artist’s likeness also appears in many drawings. In one he wears a Soviet cap and is suspended inside a great, grotesque maternal figure. In another he crouches, foetus-like in the exposed interior of a huge skull. Like some infernal womb, the skull holds the Jaremtschuk figure, and forces on it life-preserving sustenance. The presence of an iron-framed bed signifies a hospital environment, since ordinary beds in the camps were characteristically roughly made wooden bunks, or sploshnye nary (communal sleeping shelfs). In another we find him hiding under a bench in some strange washroom-cum-laboratory from a huge hybrid creature that appears to have escaped from an adjacent cupboard. It threatens a figure hanging upside down from laundry drying on a hanger. Another figure sits in a large jar, safe from the monster, perhaps, but trapped within his glass container.<br />
1. Andrei Vishinsky, quoted in Jonathan Brent, Inside the Stalin Archives, New York: Atlas and Co., 2008, p. 12.<br />
<a href="https://rawvision.com/articles/foma-jaremtschuk"><span style="color: #3d85c6;">https://rawvision.com/articles/foma-jaremtschuk</span></a></div>
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-63145548885244631692018-05-14T00:36:00.000-07:002018-05-14T00:36:15.411-07:00Pedro Friedeberg - "I have invented several styles of architecture, as well as one new religion and two salads. I am particularly fond of social problems and cloud formations. My work is profoundly profound"<div dir="ltr" style="text-align: left;" trbidi="on">
<a data-ved="2ahUKEwiMpNK50ITbAhUHC-wKHT3UAN4QjRx6BAgBEAU" href="https://www.google.com/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwiMpNK50ITbAhUHC-wKHT3UAN4QjRx6BAgBEAU&url=https%3A%2F%2Fwww.1stdibs.com%2Fart%2Fprints-works-on-paper%2Finterior-prints-works-on-paper%2Fpedro-friedeberg-astronomia-y-gastronomia%2Fid-a_1054863%2F&psig=AOvVaw23E9fx9GWN9Sw1pWbQEgR4&ust=1526367566473619" id="irc_mil" jsaction="mousedown:irc.rl;keydown:irc.rlk;irc.il;" style="border-image: none; border: 0px currentColor;"><img alt="Image result for Pedro Friedeberg" id="irc_mi" src="https://a.1stdibscdn.com/archivesE/upload/a_3783/1465169339276/Astronomia_y_Gastronomia_1_z.jpg" style="margin-top: 0px;" /></a><br />
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<a href="http://www.pedrofriedeberg.com/"><strong><span style="color: #3d85c6;">www.pedrofriedeberg.com/</span></strong></a><br />
<a href="http://doorofperception.com/2016/03/pedro-friedeberg/"><strong><span style="color: #3d85c6;">doorofperception.com/2016/03/pedro-friedeberg/</span></strong></a><br />
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<strong><span style="font-size: large;">Jodorowsky arhitekture, stolica i dizajna.</span></strong><br />
<strong><span style="font-size: large;">Sve je to bijeg od dosade.</span></strong><br />
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<a data-ved="2ahUKEwi4p6-d0YTbAhWPr6QKHSkzC4gQjRx6BAgBEAU" href="https://www.google.com/url?sa=i&source=images&cd=&cad=rja&uact=8&ved=2ahUKEwi4p6-d0YTbAhWPr6QKHSkzC4gQjRx6BAgBEAU&url=http%3A%2F%2Fwww.pedrofriedeberg.com%2F%3Fpage_id%3D656&psig=AOvVaw23E9fx9GWN9Sw1pWbQEgR4&ust=1526367566473619" id="irc_mil" jsaction="mousedown:irc.rl;keydown:irc.rlk;irc.il;" style="border-image: none; border: 0px currentColor;"><img alt="Image result for Pedro Friedeberg" height="388" id="irc_mi" src="http://www.pedrofriedeberg.com/wp-content/uploads/2011/09/libro-news1.gif" style="margin-top: 0px;" width="445" /></a><br />
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<strong><span style="font-size: small;">I get up at the crack of noon and, after watering my pirañas, I breakfast off things Corinthian. Later in the day I partake in an Ionic lunch followed by a Doric nap. On Tuesdays I sketch a volute or two, and perhaps a pediment, if the mood overtakes me. Wednesday I have set aside for anti-meditation. On Thursdays I usually relax whereas on Friday I write autobiographies”</span></strong></h2>
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<strong><em>- <span style="font-size: small;">Pedro Friedeberg</span></em></strong></h2>
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<a href="https://vimeo.com/search?q=Pedro+Friedeberg"><span style="color: #3d85c6;"><strong>vimeo.com/search?q=Pedro+Friedeberg</strong></span></a><br />
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I was born in Italy during the era of Mussolini, who made all trains run on time. Immediately thereafter, I moved to México where the trains are never on time, but where once they start moving they pass pyramids.</div>
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My education was first entrusted to a Zapotec governess and later to brilliant mentors such as Mathias Goeritz, who taught me morals, José González, who taught me carpentry, and Gerry Morris, who taught me to play bridge.</div>
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I have invented several styles of architecture, as well as one new religion and two salads. I am particularly fond of social problems and cloud formations. My work is profoundly profound.</div>
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I admire everything that is useless, frivolous and whimsical. I hate functionalism, post modernism and almost everything else. I do not agree with the dictum that houses are supposed to be ‘machines to live in’. For me, the house and it’s objects is supposed to be some crazy place that make you laugh.</div>
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Americans do not understand Mexicans and viceversa. Americans find Mexicans unpunctual, they eat funny things and act like old-fashioned Chinese. When André Breton came to Mexico he said it was the chosen Country of surrealism. Breton saw all kinds of surrealist things happen here every day. The surrealists are more into dreaming, into the absurd and into the ridiculous uselesness of things. My work is always criticizing the absurdity of things. I am an idealist. I am certain that very soon now humanity will arrive at a marvelous epoch totally devoid of Knoll chairs, jogging pants, tennis shoes and baseball caps sideway use, and the obscenity of Japanese rock gardens five thousand miles from Kyoto.</div>
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I get up at the crack of noon and, after watering my pirañas, I breakfast off things Corinthian. Later in the day I partake in an Ionic lunch followed by a Doric nap. On Tuesdays I sketch a volute or two, and perhaps a pediment, if the mood overtakes me. Wednesday I have set aside for anti-meditation. On Thursdays I usually relax whereas on Friday I write autobiographies”<br />
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Apart from <a href="https://en.wikipedia.org/wiki/Pedro_Friedeberg" target="_blank"><span style="color: #2d2ef4;">Pedro Friedeberg</span></a>’s non-fictional architectural fantasies, he began producing furniture that rejected the predominantly international style of architecture and design that was being taught in Mexico. After designing his first chair, Friedeberg went on to design tables, couches, and love seats. This body of work, along with Friedeberg’s obsessively crowded and meticulously detailed canvases, often included references to Tantric scriptures, Aztec codices, Catholicism, Hinduism, and symbols of the occult. Although his paintings, filled to overflowing with surprise, were sometimes described as examples of Surrealism or fantastic realism, they are not easily definable in terms of conventional categories. He used architectural drawing as the medium through which he created unusual compositions and also designed furniture and useless objects, admitting that his artistic activity was rooted in boredom. This sense of irony and surfeit imparted to his pictures, through the hallucinatory repetition of elements, an asphyxiating formal disorder. Friedeberg’s work is a product of highly conscious, if not self-conscious, thought.<br />
<small>Text taken from Friedeberg’s <a href="http://www.pedrofriedeberg.com/" target="_blank"><span style="color: #2d2ef4;">website</span></a></small><br />
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<a data-ctbtn="2" data-cthref="/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&cad=rja&uact=8&ved=0ahUKEwjwrP3z0oTbAhWKGuwKHcsSAHEQFgg0MAI&url=https%3A%2F%2Fwww.christies.com%2Ffeatures%2FIn-conversation-with-Pedro-Friedeberg-8677-1.aspx&usg=AOvVaw1OuYSo20YiqY5_3idUQTGe" href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=3&cad=rja&uact=8&ved=0ahUKEwjwrP3z0oTbAhWKGuwKHcsSAHEQFgg0MAI&url=https%3A%2F%2Fwww.christies.com%2Ffeatures%2FIn-conversation-with-Pedro-Friedeberg-8677-1.aspx&usg=AOvVaw1OuYSo20YiqY5_3idUQTGe"><span style="color: #3d85c6;">In conversation with Pedro Friedeberg | Christie's</span></a><br />
<a data-ctbtn="2" data-cthref="/url?sa=t&rct=j&q=&esrc=s&source=web&cd=6&cad=rja&uact=8&ved=0ahUKEwjwrP3z0oTbAhWKGuwKHcsSAHEQFghFMAU&url=https%3A%2F%2Fwww.designboom.com%2Fart%2Finterview-with-artist-pedro-friedeberg-07-17-2014%2F&usg=AOvVaw2lsHZBv3Gw1z09e3dkz7BN" href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=6&cad=rja&uact=8&ved=0ahUKEwjwrP3z0oTbAhWKGuwKHcsSAHEQFghFMAU&url=https%3A%2F%2Fwww.designboom.com%2Fart%2Finterview-with-artist-pedro-friedeberg-07-17-2014%2F&usg=AOvVaw2lsHZBv3Gw1z09e3dkz7BN"><span style="color: #3d85c6;">interview with artist pedro friedeberg - Designboom</span></a><br />
<a data-ctbtn="2" data-cthref="/url?sa=t&rct=j&q=&esrc=s&source=web&cd=22&cad=rja&uact=8&ved=0ahUKEwi665qE1ITbAhUrMuwKHfcpBtY4ChAWCFUwCw&url=https%3A%2F%2Fwww.juxtapoz.com%2Fnews%2Fsurreal-work-by-pedro-friedeberg%2F&usg=AOvVaw3FlfR53nDUDwrDT2XMN1g_" href="https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=22&cad=rja&uact=8&ved=0ahUKEwi665qE1ITbAhUrMuwKHfcpBtY4ChAWCFUwCw&url=https%3A%2F%2Fwww.juxtapoz.com%2Fnews%2Fsurreal-work-by-pedro-friedeberg%2F&usg=AOvVaw3FlfR53nDUDwrDT2XMN1g_"><span style="color: #3d85c6;">Juxtapoz Magazine - Surreal Work by Pedro Friedeberg</span></a><br />
<a data-ctbtn="2" data-cthref="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=21&cad=rja&uact=8&ved=0ahUKEwi665qE1ITbAhUrMuwKHfcpBtY4ChAWCE8wCg&url=http%3A%2F%2Fwww.faena.com%2Faleph%2Farticles%2Fpedro-friedeberg-sculptor-of-mythologies%2F&usg=AOvVaw1OEag-P9qexB3OOQNHVC3Y" href="http://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=21&cad=rja&uact=8&ved=0ahUKEwi665qE1ITbAhUrMuwKHfcpBtY4ChAWCE8wCg&url=http%3A%2F%2Fwww.faena.com%2Faleph%2Farticles%2Fpedro-friedeberg-sculptor-of-mythologies%2F&usg=AOvVaw1OEag-P9qexB3OOQNHVC3Y"><span style="color: #3d85c6;">Pedro Friedeberg, sculptor of mythologies - Aleph - Faena Hotel</span></a><br />
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-1317649720224099392018-04-17T02:13:00.000-07:002018-04-17T02:13:06.282-07:00Mark Tansey - The Monochromatic and Contradictory World <div dir="ltr" style="text-align: left;" trbidi="on">
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<img alt="Mark Tansey
Reverb, 2017
Oil on canvas
84 × 60 inches unframed (213.4 × 152.4 cm)
© Mark Tansey
Photo by Rob McKeever
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<strong><span style="font-size: large;">Slika kao filozofija slike.</span></strong><br />
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<a href="http://tanseypictures.tumblr.com/"><strong><span style="color: #3d85c6; font-size: large;">tanseypictures.tumblr.com/</span></strong></a><br />
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<em>In Tansey's paintings modern art serves as an arena for the visualization of the invisible mechanics of ideology</em> - David Joselit<br />
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The dense imagery that permeates Mark Tansey's canvases can be sourced to a trove of visual material that the artist has collected over the years. This includes his own photographs, as well as clippings from magazines, journals and newspapers. Tansey begins his creative process by stretching, rotating or cropping forms, combining images, and photocopying them over and over again until he produces a collage that can serve as a preliminary study for his paintings.<br />Tansey's work typifies the complexity of our age, when certainty seems more elusive than ever. In his paintings, it is difficult to determine whether east is west, up is down, left is right, or good is evil. The literal is the figurative, and the figurative is literal. Tansey embraces this ambiguity and invites the viewer to participate in a visual and metaphorical adventure.<br />
<a href="https://www.gagosian.com/artists/mark-tansey">https://www.gagosian.com/artists/mark-tansey</a><br />
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<img alt="Mark Tansey
Garden, 2006
Oil on canvas
48 × 36 inches (121.9 × 91.4 cm)
© Mark Tansey
Photo by Rob McKeever
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Mark Tansey’s approach to painting reflects a deep knowledge of art, as many of his motifs are either lifted from historical paintings or depict important artists and philosophers. Each of Tansey’s paintings is a carefully calculated allegory about the meaning of art and the mystery of the human impulse to make images. Rendered in a single hue, Tansey’s canvases achieve a precise photographic quality through a complex process involving the washing, brushing, or scraping of monochromatic paint into gesso. Tansey’s subjects are fantastic, sometimes surreal scenes in which intellectual theories about art are dramatized, often complete with portraits of characters drawn from the discipline’s history.<br /><em>Forward Retreat</em>, 1986, describes the slipperiness of perception and questions the validity of innovation in art. The central image of horseback riders is painted as a reflection on water. The riders, all outfitted in uniforms of Western powers (American, French, German, and British), represent the nationalities of artists who came to dominate twentieth-century art history. They are seated backward on their horses, focused on a distant receding horizon, and are oblivious to the fact that their steeds trample on the crushed ruins of myriad pottery and objets d’art. With typically dry humor, Tansey implies two conclusions: that art progresses on the ruins of its past and that art making is propelled in part by unconscious forces.<br /><em>Arrest</em>, 1988, also reflects on art’s ambivalent relationship with history. In the picture, a group of people is almost completely absorbed by the shadow of an ancient statue. From the darkness, the limbs and objects that emerge suggest an auto body shop, a place where vehicles are fixed with the hope of escaping the shadow across the expanse of desert. Tansey has described this painting as a meditation on history and the bind it places on artists. While on one hand, art seeks to be truly revolutionary, on the other hand, art is sustained and nourished by the past. Ultimately, the painting offers the idea that an escape from history is possible but inherently dangerous. <br />
<a href="https://www.thebroad.org/art/mark-tansey">https://www.thebroad.org/art/mark-tansey</a><br />
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<img alt="The Bricoleur’s Daughter, 1987
Oil on canvas
68 x 67 in.
Collection Emily Fisher Landau, New York
Jacques Derrida argued that Western thought is founded on the nature/culture divide. He posits two possible means of critiquing the tradition to which..." height="640" src="http://78.media.tumblr.com/57015219de8056be78b109b680d6af96/tumblr_mxgm9lvdqa1t3h8z3o1_1280.jpg" width="616" /> </div>
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<em>The Bricoleur’s Daughter, </em>1987<em><br /></em>Oil on canvas<em><br /></em>68 x 67 in.<em><br /></em>Collection Emily Fisher Landau, New York<br />
Jacques Derrida argued that Western thought is founded on the nature/culture divide. He posits two possible means of critiquing the tradition to which one belongs: stand “outside” of Western philosophy (Derrida suggests that this is impossible), or work with the tools Western philosophy provides, while acknowledging their limitations, to deconstruct it. He calls this second method <em>bricolage, </em>after the anthropologist and theorist Claude Lévi-Strauss, and he or she who creates <em>bricolage </em>the <em>bricoleur</em>. Derrida contrasts the <em>bricoleur </em>with the engineer, who can supposedly stand outside of philosophy and build a new one from the ground up without the flaws of the old. Derrida writes in his essay, “Structure, Sign, and Play in the Discourse of the Human Sciences,”<br />
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If one calls <em>bricolage </em>the necessity of borrowing one’s concepts from the text of a heritage which is more or less coherent or ruined, it must be said that every discourse is <em>bricoleur</em>. The engineer, whom Lévi-Strauss opposes to the <em>bricoleur</em>, should be the one to construct the totality of his language, syntax, and lexicon. In this sense the engineer is a myth.</blockquote>
Tansey's <em>Bricoleur’s Daughter </em>is working with the tools she has, the paintbrushes and flashlight of her father or mother, to create something new and deconstruct the discourse to which she belongs. The shadows on the wall are very much the shadows of Plato’s cave, as are, we are reminded, the paintbrushes’ other products: paintings.<br />
So Tansey is himself a <em>bricoleur</em>, working with the medium of painting to deconstruct the discourse to which he belongs while recognizing the limitations of his medium, or, indeed, of the <a href="http://tanseypictures.tumblr.com/post/69336374406/artist-drawing-a-nude-with-perspective-device-from" target="_blank"><span style="color: #3d85c6;">scopic regime</span></a> in which that medium is situated.<br />
Tansey works with the assumption that Derrida says is the foundation Western thought—the nature/culture divide—to critique the very same assumption. Heidegger’s earth/world pair is apparent throughout Tansey’s work, but Tansey is <a href="http://tanseypictures.tumblr.com/post/69325637022/doubting-thomas-1986-oil-on-canvas-65-x-54-in" target="_blank"><span style="color: #3d85c6;">critical of that divide</span></a> just as he is <a href="http://tanseypictures.tumblr.com/post/69315045161/triumph-over-mastery-ii-1987-oil-on-canvas-97-1-4" target="_blank"><span style="color: #b30909;"><span style="color: #3d85c6;">critical of the scopic</span> regimes</span></a>, the world pictures, that are derived from it.</div>
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<img alt="Doubting Thomas, 1986
Oil on canvas
65 x 54 in.
Doubting Thomas is a play on Caravaggio’s 1602 The Incredulity of Saint Thomas. The man inserts his fingers into the crack in the road as if he does not believe it exists, as Thomas does with Jesus’..." height="640" src="http://78.media.tumblr.com/16cdb587e4e0ad34d6f2705b72535971/tumblr_mxgshvERlh1t3h8z3o1_1280.jpg" width="539" /> </div>
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<em>Doubting Thomas</em>, 1986<br />Oil on canvas<br />65 x 54 in.<br />
<em>Doubting Thomas </em>is a play on <a href="https://t.umblr.com/redirect?z=http%3A%2F%2Fen.wikipedia.org%2Fwiki%2FThe_Incredulity_of_Saint_Thomas_%28Caravaggio%29&t=NWYzYzVjOTg5NDc3YTYwYzg5ODc5MGYzYTNhODJiNDIwYTI1NjgwNyxFN2p5em1iVw%3D%3D&b=t%3AFkdHK3FgBbc5kAPygBN7EA&p=http%3A%2F%2Ftanseypictures.tumblr.com%2Fpost%2F69325637022%2Fdoubting-thomas-1986-oil-on-canvas-65-x-54-in&m=1" target="_blank"><span style="color: #b30909;"><span style="color: #3d85c6;">Caravaggio’s 1602 <em>The Incredulity of Saint Thomas</em></span></span></a>. The man inserts his fingers into the crack in the road as if he does not believe it exists, as Thomas does with Jesus’ wound. The scale of geologic time is beyond his human comprehension, just as Jesus’s resurrection is a divine event beyond Thomas’s human understanding.<br />
<img alt="" height="147" src="http://upload.wikimedia.org/wikipedia/commons/e/e0/Caravaggio_-_The_Incredulity_of_Saint_Thomas.jpg" width="200" /><br />
For the knowing reader or viewer, Thomas’s doubt in Jesus’s resurrection appears absurd. The man is standing right before him, yet still Jesus must guide Thomas’s finger into his wound for verification. For any viewer who has studied earth science in middle school, Tansey's <em>Doubting Thomas</em>’s doubt is also absurd.<br />
In class, we debated whether or not we “live in the universe.” Tansey’s doubting Thomas seems skeptical as to whether he lives on the <em>Earth</em>. That is, in his mind, he lives in the world, the human world of cars and roads, not on a geologically active planet with active fault lines. The road and the car represent the human world, the fault line, the earth:<br />
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The world grounds itself on the earth, and earth juts through world. But the relation between world and earth does not wither away into the empty unity of opposites unconcerned with one another. The world, in resting upon the earth, strives to surmount it. As self-opening it cannot endure anything closed. The earth, however, as sheltering and concealing, tends always to draw the world into itself and keep it there. (Heidegger, 172)</blockquote>
The modern human <em>world </em>takes its triumph over the <em>earth </em>as given. In a way, this triumph is actual—<em>Earthrise</em> or <em><a href="http://tanseypictures.tumblr.com/post/69321965549/eugene-cernan-ronald-evans-and-jack-schmitt-the" target="_blank"><span style="color: #3d85c6;">The Blue Marble</span></a> </em>are the literal manifestations, or culmination perhaps, of the modern world picture, the Whole Earth. But the earth never truly disappears from beneath the world, and attempts to erase the earth may result in both the earth’s and world’s <a href="http://tanseypictures.tumblr.com/post/68124301023/triumph-over-mastery-1986-click-here-for-higher" target="_blank"><span style="color: #3d85c6;">near-destruction</span></a>.<br />
Just as Caravaggio’s painting renders Thomas’s doubt as absurd, so does Tansey’s painting render the artificial distinction between earth and world, nature and culture, absurd. Can anyone really doubt that the earth undergoes geologic change? Only if one lives only in the world, and not also on the earth.</div>
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<img alt="Purity Test, 1982
Oil on canvas
72 x 96 in.
Chase Manhattan Bank
The painting that inspired this exhibit.
The Native Americans test the purity of Spiral Jetty, an apparent intrusion into their untouched landscape. But the purity of our conception of..." src="http://78.media.tumblr.com/89b5429b5526abfd7f9959562e4fce11/tumblr_mwulb9ieiZ1t3h8z3o1_r1_1280.gif" /> <span style="color: #252525;"> </span><br />
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<em>Purity Test, </em>1982<br />Oil on canvas<br />72 x 96 in.<br />Chase Manhattan Bank<br />
The painting that inspired this exhibit.<br />
The Native Americans test the purity of <em>Spiral Jetty</em>, an apparent intrusion into their untouched landscape. But the purity of our conception of Native Americans itself is tested, and we remember that the figures depicted are drawn from problematic traditions of stereotypes.<br />
Shapiro writes,<br />
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<span class="s1">Surely the title of Mark Tansey’s <em>Purity Test</em>, another refraction of the spiral (and, I would argue, of the essay and the film) is highly ironic. This is not because Smithson was aiming at a pure art, free from the constraints of the New York art world, but rather because everything about this image is decidedly impure: the representational character of the painting, which violates the modernist imperative of exploring the lateness of the picture plane, the anachronism of these Native Americans encountering the spiral that was built in 1970, and the blatant depiction of these spectators in costume and poses borrowed from the now antiquated style of the painters of an illusory heroic American past. (Shapiro, 7-8)</span></div>
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<span class="s1">For Tansey, <em>Spiral Jetty </em>is a work that worlds, but it is, through the eyes of the Native Americans, not natural. The ideal Native American does not need a work to world, to grapple with the earth and bring it out of obscurity, his relationship with the earth is untainted. But we know that this ideal Native American never existed but in the minds of nostalgic Westerners. Just as <em>Spiral Jetty </em>confuses the boundary between nature and artifact and reveals that distinction to be a <a href="http://tanseypictures.tumblr.com/post/69325637022/doubting-thomas-1986-oil-on-canvas-65-x-54-in" target="_blank"><span style="color: #3d85c6;">spurious one</span></a>. <em>Purity Test </em>has what is to a Westerner, who depends on the existence of</span> the <a href="http://tanseypictures.tumblr.com/post/69321965549/eugene-cernan-ronald-evans-and-jack-schmitt-the" target="_blank"><span style="color: #3d85c6;">pristine earth apart from the</span></a><a href="http://tanseypictures.tumblr.com/post/69321965549/eugene-cernan-ronald-evans-and-jack-schmitt-the" target="_blank"><span style="color: #3d85c6;"> world</span></a> even as the <a href="http://tanseypictures.tumblr.com/post/69313861904/triumph-of-the-new-york-school-1984-oil-on-canvas" target="_blank"><span style="color: #3d85c6;">world attempts to subsume the earth</span></a>, a bleak take—what purity is there to be tested?</div>
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<img alt="Triumph Over Mastery, 1986 (click here for higher resolution scan)
Oil and pencil on canvas
59 7/8 x 144 ¼ in.
The Museum of Contemporary Art, Los Angeles
In this post-apocalyptic landscape a la Shelley’s “Ozymandias,” a mother and her two sons..." src="http://78.media.tumblr.com/31b2c7bbb41b3dd66b648893d080362a/tumblr_mwun816PCI1t3h8z3o1_1280.png" /> <span style="color: #252525;"> </span></div>
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<em>Triumph Over Mastery,</em> 1986 (<a href="https://t.umblr.com/redirect?z=http%3A%2F%2Famyscott.com%2FTansey%2520for%2520the%2520web%2Fimages%2FTriumph-Over-Mastery.jpg&t=MzcxNWFkNjkxOTUxNDE5NmZhZGY1ODVmY2E0NjUwMTgzNmUyZDQyNix6V2NkQUoyTw%3D%3D&b=t%3AFkdHK3FgBbc5kAPygBN7EA&p=http%3A%2F%2Ftanseypictures.tumblr.com%2Fpost%2F68124301023%2Ftriumph-over-mastery-1986-click-here-for-higher&m=1" target="_blank"><span style="color: #b30909;">click here for higher resolution scan</span></a>)<em><br /></em>Oil and pencil on canvas<br />59 7/8 x 144 ¼ in.<br /><a href="https://t.umblr.com/redirect?z=http%3A%2F%2Fwww.moca.org%2Fpc%2FviewArtWork.php%3Fid%3D97&t=MmYxYWMxNTQxM2Y3YWE5M2IwYTg0ZGE0NDI3MTMyOWYzOWJlOTQ2Mix6V2NkQUoyTw%3D%3D&b=t%3AFkdHK3FgBbc5kAPygBN7EA&p=http%3A%2F%2Ftanseypictures.tumblr.com%2Fpost%2F68124301023%2Ftriumph-over-mastery-1986-click-here-for-higher&m=1" target="_blank"><span style="color: #3d85c6;">The Museum of Contemporary Art, Los Angeles</span></a><br />
In this post-apocalyptic landscape a la Shelley’s “Ozymandias,” a mother and her two sons appear to be taking a walk through a ruin. From a distance, the figures appear to be wearing the garb of a future civilization reduced to pre-Common Era technology. The mother’s clothing matches the flowing raiment of the statue opposite her in the left of the painting, in a temporal and compositional mirroring: the woman of the distant future wears the clothing of the distant past. But, on closer inspection, the viewer sees that the mother is wearing a modern dress and even has a pair of glasses sitting on her head. The two boys are wearing t-shirts and shorts. The figures could be an American family from any time since 1950.<em><br /></em><br />
Time is confused in this landscape. Contemporary figures occupy the distant future, which is occupied by artifacts of the distant past. The landscape is itself also confused. The remnants of the temple, or whatever monument now lies broken before us, do not enclose God. They do not bring the ground on which they lie up out of obscurity. They do not “make visible the invisible space of the air” (Heidegger <em>The Origin of the Work of Art</em>, 169). Beyond the foreground, ruins stretch to the horizon in a vast plain, without contrast and without the ability to create contrast. There is no sheltering here, no “emerging and rising in itself,” no <em>physis </em>(Heidegger, 169). The earth here depicted is only <em>earth</em> in its grossest form, that which lies beneath our feet.<br />
The “triumph” here is not over humanity’s “mastery” of nature, but over mastery altogether. For Heidegger, world and earth are eternally in conflict; neither can master the other. Heidegger writes,<br />
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Earth, irreducibly spontaneous, is effortless and untiring. Upon the earth and in it, historical man grounds his dwelling in the world. In setting up a world, the work sets forth the earth. This setting forth must be thought here in the strict sense of the word. The work moves the earth itself into the open region of a world and keeps it there. The work lets the earth be an earth…<br />
The opposition of world and earth is strife. But we would surely all too easily falsify its essence if we were to confound strife with discord and dispute, and thus see it only as disorder and destruction. In essential strife, rather, the opponents raise each other into the self-assertion of their essential natures. Self-assertion of essence, however, is never a rigid insistence upon some contingent state, but surrender to the concealed originality of the provenance of one’s own Being. In strife, each opponent carries the other beyond itself. Thus the strife becomes ever more intense as striving, and more properly what it is. The more strife overdoes itself on its own part, the more inflexibly do the opponents let themselves go into the intimacy of simple belonging to one another. The earth cannot dispense with the open region of the world if it itself is to appear as earth in the liberated surge of its self-seclusion. The world in turn cannot soar out of the earth’s sight if, as the governing breadth and path of all essential destiny, it is to ground itself on a resolute foundation. (Heidegger, 171-2)</blockquote>
With the decay of the human <em>world</em> into ruin, the <em>earth</em>, too, returns to an earlier state. Work, world, builds up earth by being in strife with it, the two elevate one another in their mutual conflict. In <em>Triumph Over Mastery</em>, world and earth remain, but are reduced to a nearly pre-human, pre-work state—whether by war or simple entropy is unclear. Tansey’s painting follows modern attempts to place world as master over earth to their logical conclusion. Only rubble remains, the world withdrawn and decayed. Heidegger writes of a similar scenario when contemplating the fate of ancient sculptures, plays, and buildings:<br />
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Well, then, the works themselves stand and hang in collections and exhibitions. But are they here in themselves as the works they themselves are, or are they not rather here as objects of the art industry? Works are made available for public and private art appreciation. Official agencies assume the care and maintenance of works. Connoisseurs and critics busy themselves with them. Art dealers supply the market. Art-historical study makes the works the objects of a science. Yet in all this busy activity do we encounter the work itself?<br />
The Aegina sculptures in the Munich collection, Sophocles' <em>Antigone </em>in the best critical edition, are, as the works they are, torn out of their own native sphere. However high their quality and power of impression, however good their state of preservation, however certain their interpretation, placing them in a collection has withdrawn them from their own world. But even when we make an effort to cancel or avoid such displacement of works—when, for instance, we visit the temple in Paestum at its own site or the Bamberg cathedral on its own square—the world of the work that stands there has perished.<br />
World-withdrawal and world-decay can never be undone. The works are no longer the same as they once were. It is they themselves, to be sure, that we encounter there, but they themselves are gone by. As bygone works they stand over against us in the realm of tradition and conservation. (Heidegger, 167-168)</blockquote>
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The world to which the works that are now ruins belonged has been reduced to rubble.<br />
But modern figures stand in the rubble. A boy stands on a toppled pillar as if on a playground structure. The sprawl of America’s Inland Empire is just as undifferentiated as the ruins that stand in the background of the painting. Where in the contemporary world is <a href="http://tanseypictures.tumblr.com/post/69323367683/jay-bergesen-temple-of-poseidon-at-sounion" target="_blank"><span style="color: #3d85c6;">Heidegger’s temple</span></a> that makes visible the invisible space of the air, that in relying on the support of solid rock brings it out of obscurity, that in standing against the sea spray “brings out the raging of the sea” (Heidegger, 169)?<br />
This destruction, and even Heidegger’s temple, is a product of a false distinction between earth and world. For Tansey, only the <a href="http://tanseypictures.tumblr.com/post/69325637022/doubting-thomas-1986-oil-on-canvas-65-x-54-in" target="_blank"><span style="color: #3d85c6;">foolish and the faithless</span></a> would assume this distinction to exist, though it is <a href="http://tanseypictures.tumblr.com/post/69313995326/the-bricoleurs-daughter-1987-oil-on-canvas-68-x" target="_blank"><span style="color: #3d85c6;">on this distinction</span></a> that Western thought is founded.</div>
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<em>A Short History of Modernist Painting</em> presents a storyboard of the problems and interests of painting over many decades. Mark Tansey’s interpretation of this history starts with the belief that painting is a window to, and representation of, the world, an idea long attributed to the Italian architect and theorist Leon Battista Alberti. Tansey’s series of pictorial allegories shows how Alberti’s idea has been expanded and critiqued by modernism. Often in the work, references to particular artists or moments in recent art history are recognizable: Carl Andre’s tiles of metal, Jasper Johns’s target, and Chris Burden’s famous 1971 <em>Shoot</em> piece (portrayed here as a scene of knife throwing). Movements such as performance art, body art, minimalism, and others can be identified as well. Ultimately, Tansey demonstrates art as inclusive of painting and yet far beyond it, art as capable of using any medium and open to almost any subject.<br />
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<a href="https://www.thebroad.org/art/mark-tansey"><span style="color: #3d85c6;"><strong>https://www.thebroad.org/art/mark-tansey</strong></span></a><br />
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<img alt="Action Painting II, 1984
Oil on canvas
193 x 279.4 cm
Collection of the Museum of Fine Arts, Montreal
Jay writes of the “eye” of Cartesian perspectivalism,
“ that eye was singular, rather than the two eyes of normal binocular vision. It was conceived..." height="479" src="http://78.media.tumblr.com/2d599a1ac706b08ceb326e8834052c65/tumblr_mxgmpuJm2N1t3h8z3o1_1280.jpg" width="640" /><br />
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<em>Action Painting II</em>, 1984<br />Oil on canvas<br />193 x 279.4 cm<br />Collection of the Museum of Fine Arts, Montreal<br />
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<span class="s1">Jay writes of the “eye” of <a href="http://tanseypictures.tumblr.com/post/69336374406/artist-drawing-a-nude-with-perspective-device-from" target="_blank"><span style="color: #3d85c6;">Cartesian perspectivalism</span></a>,</span></div>
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<span class="s1">that eye was singular, rather than the two eyes of normal binocular vision. It was conceived in the manner of a lone eye looking through a peephole at the scene in front of it…[i]n Norman Bryson’s terms, it followed the logic of the Gaze rather than the Glance, thus producing a visual take that was eternalized, reduced to one “point of view” and disembodied. In what Bryson calls the “Founding Perception” of the Cartesian perspectivalist tradition,</span></div>
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<span class="s1">“the gaze of the painter arrests the flux of phenomena, contemplates the visual field from a vantage-point outside the mobility of duration, in an eternal moment of disclosed presence; while in the moment of viewing, the viewing subject unites his gaze with the Founding Perception, in a moment of perfect recreation of that first epiphany.”</span></div>
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In <em>Action Painting II</em>, paintings are as if rendered instantly, with the immediacy of a photograph, yet still the painters add the finishing touches, or, as the figures in the right of the canvas, pause to contemplate their work. This is the “visual field from a vantage-point outside the mobility of duration, in an eternal moment of disclosed presence,” that Bryson attributes to Cartesian perspectivalism. Tansey’s many painters exemplify paradox of this “eternal moment.” The scene before them is frozen, every detail in the vapor formed by the shuttle’s exhaust incredibly clear, more clear even than the grass on the ground on which the painters stand. <em><br /></em><br />
Each painter captures the event in the same perspective the painting itself offers, but they omit themselves from the work. Also missing from their paintings is the American flag, a symbol that reminds us that each painter approaches the shuttle launch with a distinctly American point of view, however much they may try to efface it. (We are also reminded of Tansey’s own American eye.) Cartesian perspectivalism, in which the artist attempts to frame the scene so well that the viewer is awed by not the painting, but the scene itself, is an eye that attempts to erase its own framing. The Cartesian eye presents what it sees as natural, self-evident, real. But every photographer, every artist, is present still.<br />
The Whole Earth <a href="http://tanseypictures.tumblr.com/post/69316125479/discarding-the-frame-1993-oil-on-canvas-84-x" target="_blank"><span style="color: #3d85c6;">can never be a truly objective world picture</span></a>. The array of <em>Action Painting II</em>’s many identical canvasses is absurd, as absurd as the notion that from seven billion minds and twice as many eyes there can ever truly be <em>one</em> true <a href="http://tanseypictures.tumblr.com/post/69321965549/eugene-cernan-ronald-evans-and-jack-schmitt-the" target="_blank"><span style="color: #3d85c6;">Whole Earth</span></a><span style="color: #3d85c6;">.</span><br />
<a href="http://tanseypictures.tumblr.com/post/69314872925/action-painting-ii-1984-oil-on-canvas-193-x-2794"><span style="color: #3d85c6;"><strong>tanseypictures.tumblr.com/post/69314872925/action-painting-ii-1984-oil-on-canvas-193-x-2794</strong></span></a><br />
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<img alt="Triumph of the New York School, 1984
Oil on canvas
74 x 120 in.
Whitney Museum of American Art, New York
Tansey exposes the work of the New York School as not a glorification of nature, but a conquest of it. This is the world gone power-mad, the..." height="392" src="http://78.media.tumblr.com/2b9604b11ac8f8cdd3c1ee0ce51341de/tumblr_mxgm76OwaG1t3h8z3o1_1280.jpg" width="640" /> <span style="color: #252525;"> </span><br />
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<em>Triumph of the New York School, </em>1984<br />Oil on canvas<br />74 x 120 in.<br />Whitney Museum of American Art, New York<br />
Tansey exposes the work of the New York School as not a glorification of nature, but a conquest of it. This is the world gone power-mad, the world trying to domesticate and erase the earth on which it is founded, and trying in doing so to <a href="http://tanseypictures.tumblr.com/post/69316125479/discarding-the-frame-1993-oil-on-canvas-84-x" target="_blank"><span style="color: #3d85c6;">erase its own identity as a mere world </span></a><em><a href="http://tanseypictures.tumblr.com/post/69316125479/discarding-the-frame-1993-oil-on-canvas-84-x" target="_blank"><span style="color: #3d85c6;">picture</span></a> </em>and finally assume the Apollonian throne.</div>
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<strong>The Monochromatic and Contradictory World of Mark Tansey</strong><br />
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<span class="date"><i class="icon-clock"></i> <time class="entry-date updated" datetime="2017-08-03T10:26:28+00:00" itemprop="datePublished">August 3, 2017</time> </span> </div>
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Mark Tansey, b. 1949 Landscape, 1994 Oil on canvas Crystal Bridges Museum of American Art, Bentonville, Arkansas</div>
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Artist Mark Tansey was born on August 2, 1949, and curatorial intern Kaitlin Morelock would love to fill you in on some information behind the artist responsible for <em>Landscape</em>, located in Crystal Bridges’ 1940s to Now Gallery.<br />
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Ever wondered what Tansey’s process behind his works is like? You’re undoubtedly not the only one.<br />
Most of Tansey’s paintings offer contradictory compositions that simultaneously appear rooted in a precise realism while conveying a jumbled, visual jargon of competing images that may leave a viewer with more questions than answers relating to the composition’s origins. Tansey’s knowledge of art history remains evident throughout his work, as he often borrows imagery from famous historical works, inserting them into his own re-imagined scenes.<br />
While Tansey was attending art school at Hunter College of the Arts in New York in the seventies, the status quo in modern art at the time was a deliberate shift away from realism and representative works. However, Tansey challenged this trend with full force. Tansey has referred to his artistic motivations as a remedy for the “death of painting” following the art world’s shift toward more Minimalist endeavors. His work relies heavily on figurative images that relate to his thorough academic and art historical knowledge, infusing his meticulous paintings with subject matter and purpose.<br />
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<a href="http://www.metmuseum.org/art/collection/search/484972"><img alt="" class="size-full wp-image-54433" height="394" sizes="(max-width: 600px) 100vw, 600px" src="https://crystalbridges.org/wp-content/uploads/2017/08/Tansey-The-Innocent-Eye-Test.jpg" srcset="https://crystalbridges.org/wp-content/uploads/2017/08/Tansey-The-Innocent-Eye-Test.jpg 600w, https://crystalbridges.org/wp-content/uploads/2017/08/Tansey-The-Innocent-Eye-Test-300x197.jpg 300w, https://crystalbridges.org/wp-content/uploads/2017/08/Tansey-The-Innocent-Eye-Test-222x146.jpg 222w, https://crystalbridges.org/wp-content/uploads/2017/08/Tansey-The-Innocent-Eye-Test-50x33.jpg 50w, https://crystalbridges.org/wp-content/uploads/2017/08/Tansey-The-Innocent-Eye-Test-114x75.jpg 114w" width="600" /></a><div class="wp-caption-text">
Mark Tansey, B. 1949<br />The Innocent Eye Test, 1981<br />Oil on canvas<br />Metropolitan Museum of Art, New York<br />© Mark Tansey</div>
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Tansey’s process of constructing image compositions for his paintings is perhaps one of the more interesting artistic processes I’ve encountered. He begins by selecting images from an exhaustive catalog of stockpiled material from various sources, collected by Tansey over the last several decades. Tansey selects appropriate figures, pastes them into intricately collaged configurations, and then photocopies them a number of times, manipulating the density and contrast until he is satisfied with the image, which then serves as the basis for his painting. Tansey also utilizes a self-made “color wheel” of words that allows him to create unusual and contradictory subject matter for his works (seen in the image below). The result is a comic and cleverly constructed scene that uses appropriated references to produce an entirely new and innovative image. <em> (You can read more about this fascinating device <a href="https://afunctionofquantity.com/2014/05/28/mark-tanseys-color-wheel/"><span style="color: #88b04b;">here</span></a>.)</em><br />
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<a href="https://afunctionofquantity.com/2014/05/28/mark-tanseys-color-wheel/"><img alt="" class="wp-image-54434 size-large" height="640" sizes="(max-width: 1010px) 100vw, 1010px" src="https://crystalbridges.org/wp-content/uploads/2017/08/Tanseys-Color-Wheel-1010x1024.jpg" srcset="https://crystalbridges.org/wp-content/uploads/2017/08/Tanseys-Color-Wheel-1010x1024.jpg 1010w, https://crystalbridges.org/wp-content/uploads/2017/08/Tanseys-Color-Wheel-296x300.jpg 296w, https://crystalbridges.org/wp-content/uploads/2017/08/Tanseys-Color-Wheel-768x779.jpg 768w, https://crystalbridges.org/wp-content/uploads/2017/08/Tanseys-Color-Wheel-144x146.jpg 144w, https://crystalbridges.org/wp-content/uploads/2017/08/Tanseys-Color-Wheel-50x50.jpg 50w, https://crystalbridges.org/wp-content/uploads/2017/08/Tanseys-Color-Wheel-74x75.jpg 74w, https://crystalbridges.org/wp-content/uploads/2017/08/Tanseys-Color-Wheel-85x85.jpg 85w, https://crystalbridges.org/wp-content/uploads/2017/08/Tanseys-Color-Wheel-80x80.jpg 80w, https://crystalbridges.org/wp-content/uploads/2017/08/Tanseys-Color-Wheel-473x480.jpg 473w" width="631" /></a><div class="wp-caption-text">
Mark Tansey’s Color Wheel Wheel, c.1988, ink on paper, 11 x 8.5 in</div>
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Another unique feature of Tansey’s process involves the actual execution of the painting. Applying a single color over a layer of gesso, Tansey’s complex imagery is achieved through the removal of paint instead of through its application, meaning that the white seen in the works is not painted, but is rather the absence of paint that was once there. Such a process requires Tansey to work quickly because he has only about six hours before the paint dries and can no longer be manipulated. Therefore, in order to include his characteristic amount of detail, he only works on one small section at a time, moving around the painting in pieces instead of working on the entire composition at one time.<br />
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Tansey’s quirky paintings have provided, once more, a place for realism in the context of modern art, while his artistic education and style, as well as his use of imagery derived from American publications, help place Tansey as a quintessentially American artist.<br />
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<a href="http://www.metmuseum.org/art/collection/search/482543"><img alt="" class="size-full wp-image-54435" height="625" sizes="(max-width: 471px) 100vw, 471px" src="https://crystalbridges.org/wp-content/uploads/2017/08/DT7401.jpg" srcset="https://crystalbridges.org/wp-content/uploads/2017/08/DT7401.jpg 471w, https://crystalbridges.org/wp-content/uploads/2017/08/DT7401-226x300.jpg 226w, https://crystalbridges.org/wp-content/uploads/2017/08/DT7401-110x146.jpg 110w, https://crystalbridges.org/wp-content/uploads/2017/08/DT7401-38x50.jpg 38w, https://crystalbridges.org/wp-content/uploads/2017/08/DT7401-57x75.jpg 57w, https://crystalbridges.org/wp-content/uploads/2017/08/DT7401-362x480.jpg 362w" width="471" /></a><div class="wp-caption-text">
Mark Tansey (American, born San Jose, California 1949)<br />Still Life, 1982<br />Oil on canvas<br />Metropolitan Museum of Art</div>
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- <a href="https://crystalbridges.org/blog/author/kaitlin-morelock/"><strong><span style="color: #3d85c6;">Kaitlin Morelock</span></strong></a><br />
<a href="https://crystalbridges.org/blog/the-monochromatic-and-contradictory-world-of-mark-tansey/"><span style="color: #3d85c6;">https://crystalbridges.org/blog/the-monochromatic-and-contradictory-world-of-mark-tansey/</span></a><br />
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<a href="https://www.nytimes.com/1997/04/27/arts/the-wheel-turns-painting-paintings-about-painting.html"><span style="color: #3d85c6;"><strong>The Wheel Turns: Painting Paintings About Painting</strong></span></a></div>
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<span style="font-family: inherit;">Although Mark Tansey might be-and has been-considered a landscape painter, the landscapes he constructs have little to do with nature. Tansey's landscapes are at once conventional and contradictory: they may simultaneously contain generic visions, fantastic illusions and "historical" events. These three ingredients are spliced together differently in different paintings, yielding combinations as bizarre, yet oddly probable as a gentle lake lying before a spectacular space shuttle takeoff, a classical ruin with a destroyed New York City in the distance, or a rock promontory from which Native Americans gaze at Robert Smithson's <i>Spiral Jetty.</i></span></div>
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<span style="font-family: inherit;">Like the space of the mass media in which bits and pieces of information are broken loose from their historical grounding and freely recombined into novel configurations, the landscape Tansey describes is one in which radically dissimilar events and places can gracefully coexist. Although his use of grisaille reads most immediately as a reference to old photographs, it also recalls the space of film and television. And yet in spite of their metaphorical reflection on the mass media, the paintings refer to another era of art-historical pastiche: academic art of the 19th</span></div>
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<span style="font-family: inherit;">century. Through the historical displacement which this similarity suggests, Tansey is able to reflect on the present in images clothed by the conventions of the past. As the title of one recent painting <i>Forward Retreat </i>implies, he is approaching modernism from both sides at once, subjecting his paintings to a kind of temporal bending. </span></div>
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<span style="font-family: inherit;">In the process of constructing a painting, Tansey reduces a discursive field of imagery to a unified dramatic situation. He maintains extensive files of</span><span style="font-size: xx-small;"><span style="font-family: inherit; font-size: small;"> landscape or figure types drawn from magazines, newspapers and books, and often makes use of homemade charts, some in the form of rotating wheels which match up unrelated phrases drawn, from his theoretical readings. Tansey has said that his paintings "mobilize a list"-his narrative strategy involves inventing landscapes which can <i>naturalize the </i>coexistence of dissimilar or contradictory figures, events. In the recent painting <i>White on White, </i>a group of Bedouins confronts a group of Eskimos in a seemingly unified field of snow and sand, hot and cold. In this painting the artist forcibly brought two entirely unlike climates and civilizations into a single shared moment, as in the sequence of reports on the evening news. Tansey's landscape performs a sleight of hand: it depicts the collapse of historical time, of cultural difference, and yet this impossible conjunction is depicted as a visually convincing, "real" landscape.</span></span></div>
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<span style="font-family: inherit; font-size: small;">Equally as problematic as the landscapes Tansey constructs are the people--or figures-which inhabit them. In most cases they are types or recognizable historical figures, who convey little if any psychological depth. Like character actors, their conventional roles (an American Indian, a housewife from. the '40s or '50s, or a soldier) are immediately legible The painting's drama, and its content, are derived from how these characters recombine in their shadowy world: how they are re-edited. With these figures, which are themselves virtually signs, Tansey fashions moral tales about the world of representation.</span></div>
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<span style="font-family: inherit; font-size: small;">Often, time is arrested in Tansev's work. <i>Action Painting, </i>1981, and <i>Action Painting II, </i>1984, are ostensibly literary reinventions of<b> </b>Abstract Expressionism. In both works, spectacular events-a racing-car crash, a space shuttle takeoff-are the<b> </b>subject, within the painting, for Sunday painters working at<b> </b>their easels. At first reading, these works perform a fairly<b> </b>obvious elision of plein-air traditions-as presented in the popular guise of amateur art-and the psychological and formal<b> </b>rigors of high art abstraction. But underlying this collapse of high and middlebrow culture is a temporal paradox: the painters<b> </b>within the paintings, arranged in stock poses of artistic<b> </b>contemplation, have completed accurate images of an instantaneous event. Only high speed photography could capture the moments that these low-technology image-makers have constructed. The duration of their own process is contradicted by the duration of action they are painting. This leaves us with the uneasy feeling that time is discontinuous within a continuous landscape, or that time has been stopped (by painting?), and that the car and the space shuttle are as stable as the mountain and the tree.</span></div>
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<span style="font-family: inherit; font-size: small;">In the recent painting <i>Conversation, </i>two men sit before a garden wall, and at the edge of a reflecting pool. Beyond the wall, and reflected in the pool, trees are bent over by strong winds, but the men, one calmly smoking and the other comfortably seated with legs crossed, are tranquil in the midst of the storm which surrounds them. The urgency of the weather contradicts the stasis of their visit: they are trapped in a lateral sliver of space, where time appears to be stilled, while around them it is accelerated to the point of danger.</span></div>
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<span style="font-family: inherit; font-size: small;">The vertiginous implosion of difference which occurs in Tansey's art--in time as well as in landscape-is apparent in his tales about the sexes. In several of his works representations of masculinity and femininity are interchanged, or set adrift. In <i>Judgement </i>of <i>Paris I </i>and <i>Judgement </i>of <i>Paris III </i>it is a woman who judges the "graces" of three men. In the earlier painting a presumably beautiful blond, her back to the viewer, watches three guys scaling a barrier in the midst of an obstacle course. Each man is caught awkwardly straddling the top of the wall--they perform the spectacle of their castration for the blond woman whose face is not visible, but whose stance communicates youthful eagerness. Anxiety about masculine performance is also at the heart of <i>Judgement of Paris III, </i>in which an elegantly dressed woman seated at a nightclub table, with cigarette in hand, chooses between three male types offering her a light: one (the one she "belongs" with, perhaps) offers her his lighter, another a torch and the third a flashlight. Three phalluses/men are presented for her to take-to activate her own fetish, the cigarette. At first glance these two paintings appear as reruns of film motifs-the happy demonstration of virility and the act of gallantry-but both assert an anxiety which lies beneath the ideologically crafted surface of the heroic male.</span></div>
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<span style="font-family: inherit; font-size: small;">Although the image of the fumbling man under the gaze of a self-possessed woman reappears in Tansey's work in paintings like Key, an allegory of reentry into the Garden of Eden, the </span></div>
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<span style="font-family: inherit; font-size: small;">sexually vulnerable man is replaced in other paintings by the heroic - soldier/artist. Several of Tansey's works have literalized the military connotations of avant -garde rhetoric<b><i>. In The Triumph of the New York School</i>, </b>a delegation of Parisians headed Andre Breton signs a treaty with American Abstract Expressionists: Clement Greenberg is at the fore, in a pose of good <span style="font-family: inherit; font-size: small;">humored but cocky humility. As in so many of Tansey's paintings, an immediate reading-the literal send-up of Irving Sandler's <i>Triumph of American Painting</i>-yields itself to more subtle interpretation. The French are clothed in uniforms from World War I. but the Americans wear "casual" dress dating from the conflict in the Second World War. The treaty is signed in a temporal warp in which a clash of dress codes demonstrates a situation of ideological difference. Tansey shows us two groups of artists in the process of imagining themselves: underlying the visualization of detente is a gulf of cultural difference. As in the Chess Game, where Duchamp's passion for chess-a game which abstracts war-is elided with the signs of actual fighting. Tansey suggests that cultural conflict is protean: it happens symbolically on one front, and literally on another. He constructs a space, a landscape, in which the symbolic and the real coexist naturally: a space reminiscent of the spectacularly unreal milieu of contemporary politics.</span></span></div>
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<span style="font-family: inherit; font-size: small;">But Tansey's apparent "protest" against the militaristic maneuverings of the avant-garde is contradicted by the evident pleasure which he takes in inhabiting the role of the soldier. The <i>End of Painting</i>, painted on a portable movie screen instead of a canvas, shows a cowboy, legs planted firmly apart, pelvis thrust forward, shooting his own image in a mirror. Tansey's allegorical presentation of the fear that modern art would destroy itself through its indulgent self- referentiality is accomplished through the cowboy/painter's enormous narcissistic pleasure -indeed, his masturbatory ecstasy. The critique of modernism here is filled with the self-congratulatory pleasure of modernism's initiates-and the knowledge that the death it deliciously fears, like the "death" that comes with orgasm, is only temporary.</span></div>
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<span style="font-family: inherit; font-size: small;"> Tansey seems obsessed with illustrating the follies of late modernism. His paintings are rich in art-historical incident, and their dramatic action allegorically takes 20th-century painting to task. But modernism is a subset, or a representation, of all of modernity. In Tansey's paintings modern art serves as an arena for the visualization of the invisible mechanics of ideology. His</span></div>
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<span style="font-family: inherit; font-size: small;"> landscapes provide the naturalistic settings for a battle of signs: images of war, of gender, of civilized behavior or of forbidden desires are combined like an elaborately hybrid film noir. Tan sey's work makes violent contradictions appear natural, while leaving clues to their impossibility. Starting with the tone of the deadpan, or the one-line joke, he has devised a new kind of realism, within which the seams of apparently seamless repre sentation are strained: a kind of painting where the difficult questions of cultural and sexual difference can be reconstructed. - <strong>David Joselit</strong> </span></div>
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<a href="https://msu.edu/course/ha/452/tansey.html"><span style="color: #3d85c6; font-family: inherit; font-size: small;">https://msu.edu/course/ha/452/tansey.html</span><span style="font-size: medium;"></span></a><span style="font-size: medium;"></span></div>
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0tag:blogger.com,1999:blog-9090164656735666067.post-58210596677723488792018-04-09T01:36:00.000-07:002018-04-09T01:36:07.647-07:00Igor and Ivan Buharov - Slow Mirror (2006)<div dir="ltr" style="text-align: left;" trbidi="on">
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<strong><span style="font-size: large;">Mađari s ruskim pseudonimima [Igor Buharov (Kornél Szilágyi) i Ivan Buharov (Nándor Hevesi)]. </span></strong><br />
<strong><span style="font-size: large;">Film je pseudonim za lirski apsurd. Apsurd je sinonim za nostalgiju. Nostalgija je žudnja za bijegom.<strong><span style="font-size: large;"><br /></span></strong></span></strong><br />
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Do you know what barman pours for spirits?<br />
Do you know what drink the barman pours?<br />
If your lover pours the drink, it's your destruction, If the drink is fiery, inside it brings illumination. Drink intoxication's drink, be consumed by love!<br />
A drop happily seeks its death in the ocean's water. All the world's a bar and things in it merely glasses, Our freind raises his glass for us and we pay the bill, Even wisdom is drunk, descending into stupor, Earth and heaven are drunk, and all the angels too.<br />
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Hungarian experimental feature <i>Slow Mirror</i> by directing duo <b>Igor and Ivan Buharov</b> is among the favourites up for selection at the <a href="http://www.cineuropa.org/el.aspx?el=http%3A//www.quinzaine-realisateurs.com">39th Directors’ Fortnight</a> (May 17-27).<br />
Inspired by contemporary art, the two directors – whose real names are Kornél Szilágyi (35) and Nándor Hevesi (32) – have made several shorts and two other features (1999’s <i>The Triumph of Sympathy</i> and 1997’s <i>The Programme</i>).<br />
<i>Slow Mirror</i> – which the directors wrote and lensed themselves – won a Special Mention in February at the Hungarian Film Week, an annual event that presents the best of Hungarian production, and which this year even managed to grab some headlines outside of Hungary.<br />
Few people resist the temptation to want to control their dreams and transform, for example, a failure into a success. But very few are able perform lucid dreaming, an exercise that demands great sensitivity and much practice. This is the idea behind <i>Slow Mirror</i>, a surrealist film that recounts the <b>adventures in the realm of the conscience</b> through its numerous narrative lines.<br />
With dream chasers, initiation, experiences inspired by Tibetan yoga, <i>Slow Mirror</i> invites the viewer on a journey to the edge of reality.<br />
The title was produced by <b>György Durst</b> (a regular partner of the directors) for Álomvadász Kft and is supported by the Motion Picture Public Foundation of Hungary (MMK), Duna Télévison and Pesti Est Kft. - <span itemprop="author"><strong>Fabien Lemercier</strong></span><br />
<span itemprop="author"><a href="http://www.cineuropa.org/nw.aspx?t=newsdetail&lang=es&documentID=76177&l=en">http://www.cineuropa.org/nw.aspx?t=newsdetail&lang=es&documentID=76177&l=en</a></span><br />
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"The anarchic, fractured and extremely surreal films by Ivan and Igor Buharov (Korne´l Szila´gyi and Na´ndor Hevesi) might seem a perfect t for this “outsider” paradigm. Darkly playful hallucinations that share the aura of having been discovered forgotten in someone’s granny’s attic like a book of now troubling childhood drawings, they reveal in precise terms a world perhaps subconsciously suspected but hitherto indescribable. They have in common an improvised quality and a sense of the homemade. This not only stems from their beautifully rough-hewn visual textures but often from the people, objects and spaces that appear before the camera. The casts are composed of extraordinary ordinary people rather than film star types: lived-in faces bringing their own stories to the films. The props, which sometimes conspicuously reappear in different films, can likewise seem to have a real-world existence of their own carried over into the picture. This helps lend the films the weird intimacy of children’s games, in which familiar people and places are made alien and the weirdly alien becomes immanent to the everyday. The feverish and disorienting experience of watching a Buharov film was probably best described in the 2008 Offscreen Film Festival catalogue as “getting lost in someone else’s dream." -Maximilian Le Cain<br />
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It has been more than 17 years that we have been working together, under the pseudonym of Igor and Ivan Buharov. We have been producing and directing several films. (experimentals, features, shorts, documentaries, animations) We have also been involved in the creation of several music projects and film music. Our works always dancing on the edge of fine art and cinematic art. In 1995, together with Vasile Croat and István Nyolczas, we have formed the 40 Labor “Multiartist” Group which made performances, events, actions, exhibitions, concerts, multimedia works. We held surrealistic audiovisual performances where the image, the music and the words became an organic whole after chaos. - <a href="http://www.curators-network.eu/database/db_item/id/igor-and-ivanbuharov">http://www.curators-network.eu/database/db_item/id/igor-and-ivanbuharov</a><br />
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zoran roskohttp://www.blogger.com/profile/01621728846672536283noreply@blogger.com0