Bigindicator

tagged: film
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Beyond Beauty: Beatriz Santiago Muñoz On How to Truly Perceive a Place

by Ionit Behar
Beatriz Santiago Muñoz is interested in questions of place: what do people make of places? How can we represent that? In the San Juan-based artist’s work the sense of place—and the embodied experience of social, ecological, and political histories—asserts itself in powerful ways. Her films and videos have an attachment to a sensorial reality and materiality, as well the imagining of possible futures, elements intrinsic to perceiving places in a new and different way. This March Santiago... [more]
Posted by Ionit Behar on 4/29/16
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Queering Film Production: Red Lighter Films Isn't Waiting for a New System, They're Building One

by Lauren McQuade
Hobbes Ginsberg walked out of Sunday Gallery in Los Angeles on what was supposed to be the final day of filming. “There's literally one shot left,” said Ginsberg, wearing a fitted white T-shirt that was plain except for a hot pink applique on the front that spelled out “Hollywood” in sparkly bold cursive. “But it's so teeny tiny—can we get rid of it?” said Chloe Feller, with a faint air of hope in her voice. “Uh, no,” Ginsberg said. The remaining shot will be left for one more day on... [more]
Posted by Lauren McQuade on 2/23/16
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The Latham Loop: Maintaining a Clean and Healthy Image for 120 Years

by Guy Parker
Never forget the loop The first time I encountered the loop was whilst using a Chinon Super 8 projector manufactured in the late 70s. Within seconds of my roll of Kodachrome entering the “auto-loading” machine the projected image began to jitter and convulse. After several further attempts the film buckled, broke, and bunched up in the gate where it was toasted by the searing hot halogen lamp. The instruction booklet explained that although the film lacing process was totally automated, the... [more]
Posted by Guy Parker on 11/19/15
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Feminists on Film: Documenting the 4th Wave

by Char Jansen
Feminism is "trending": but, as we've written before, that's not necessarily a bad thing. There's no doubt that we're experiencing a fervent new wave of visual feminism that has seen wider exposure than ever before thanks to online platforms. The “4th wavers,” a new generation of feminist practioners who are choosing to use visual activity as a core means for resolving their thinking, have forged an unprecedented symbiosis between experimental and formerly marginal forms of culture and the... [more]
Posted by Char Jansen on 10/24/15
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Moving Image at Frieze Week: Song and Dance, and a Dark Clown

by Marianne Templeton
Despite the pre-eminence of moving image in contemporary practice, the field remains under-represented at art fairs such as Frieze. This year we are likely to see the usual sidelining of artists’ film and video inside the Great White Tent in Regent’s Park—though of course there are always the Frieze Film commissions, tucked away on Channel 4’s late night Random Acts programme. The imbalance is adjusted somewhat by the strong presence of moving image across high-profile commercial and non-profit... [more]
Posted by Marianne Templeton on 10/13/15
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With an Urban Gaze, Valérie Jouve Confronts Manufactured Divides

by Lara Atallah
In a time of rampant gentrification and widening socio-economic gaps, Valérie Jouve has storied the fraught relationship between the human body and the metropolis, imagining the latter as a theater in which her protagonists are behooved to adapt. Subjects with reclined heads, stiff facial expressions, or confident postures, their bodies caught in motion, create a narrative that wavers between survival and surrender in her Jeu De Paume retrospective, , which spans a career largely dedicated to... [more]
Posted by Lara Atallah on 9/9/15
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Working (it) Out with Gillian Dykeman: Roya Akbari

by Gillian Dykeman
Welcome to the seventh installation of the Artslant podcast series, . My name is Gillian Dykeman, and I'm a visual artist living in Toronto, Ontario. This summer, I am interviewing artists to ask about the role of audience in their practice. Each interview will begin with one question: "Does art require an audience?"    Working (it) Out with Gillian Dykeman Episode Seven | Roya Akbari: Destiny's Child The Vivian Maier question (2:00) Censorship and the political realities as limiting... [more]
Posted by Gillian Dykeman on 8/3/15
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Here's Johnny

by Philippa Snow
Look, here's the thing: under certain circumstances (in a court of law, in matters of dress, in affairs of the heart) I believe in being totally up-front and honest, which is why I believe that I should tell you from the outset that I am absolutely crazy about John Waters. I mean to say: I actually once came very close to having the man's initials permanently tattooed onto my bicep after a meet 'n' greet. That was back, I think, in 2012, when my body was a slightly more worthy vessel to be... [more]
Posted by Philippa Snow on 7/7/15
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How to Make Twin Peaks Lynchian Without David Lynch

by Paul Hanford
“ without David Lynch is like a girl without a secret.” Sheryl Lee a.k.a Laura Palmer, begins the roll call of cast members from this most mythical of shows, voicing support for the return of their auteur. Lynch, who quit work on the returning show had this to say on Twitter:   After 1 year and 4 months of negotiations, I left because not enough money was offered to do the script the way I felt it needed to be done. — David Lynch (@DAVID_LYNCH) April 5, 2015   And so we face the... [more]
Posted by Paul Hanford on 4/9/15
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Black Box and White Cube Merge but Audiences Are Slow to Follow

by Edo Dijksterhuis
The current art market status of video art is comparable to that of photography in the early nineties. Back then photography wasn’t considered "real art" requiring hard-won skills going beyond simply pointing a lens and pressing a button. Moreover, prints could be reproduced endlessly rendering the work devoid of true artistic aura, a Benjaminesque nightmare. For video art too, controlling editions and authentication are the biggest obstacles to overcome, even more than trying to convince... [more]
Posted by Edo Dijksterhuis on 12/1/14