Video / Film

Summer Reading: Amie Siegel

Amie Siegel. Still from Provenance, 2013; HD video, color, sound; 40 minutes, 30 seconds. Images courtesy of the artist and Simon Preston Gallery, New York.

As the editors at Art Practical and Daily Serving get ready to take their end-of-summer vacations, we find ourselves swapping reading lists—the articles we’ll dive into once have some uninterrupted time to catch up on what our colleagues have been writing. We’ve gotten so excited about what’s on our lists that we want to share them with our readers. Between now and Labor Day, Daily Serving will feature the efforts of our[.....]

How to Make a Non-Didactic Video

Camille Henrot. Grosse Fatigue, 2013; Video: color, sound, 13 min. © ADAGP Camille Henrot. Courtesy the artist, Silex Films and kamel mennour, Paris.

Today from our friends at Glasstire, we bring you Joshua Fischer’s assessment of two videos currently on view in Houston, Texas. Instead of comparing works in the same exhibition, Fischer reviews videos by the artists Hito Steyerl and Camille Henrot in two different shows and defines the likenesses between them. He notes, “Steyerl and Henrot may have different outlooks and approaches [...] but luckily they share[.....]

Artist Project: Jack + Leigh Ruby’s Car Wash Incident

Jack + Leigh Ruby. Matt's Convenience Store Robbery, evidentiary photo 21; 1975. Courtesy of the Artists. Photo: Leigh Ruby.

Today from our friends at Art Practical, we bring you an essay by Simon Lee and Eve Sussman about “the intersection of and differences between entertainment and art.” This article was originally published on July 9, 2014. I’ve been a fan of Eve Sussman’s work from the first moment I watched her film Rape of the Sabine Women (2007) during a screening at the San Francisco Museum[.....]

Ragnar Kjartansson: The Visitors at ICA Boston

Ragnar Kjartansson, The Visitors, 2012, Nine-channel HD video projection, 64 minutes, Edition 4 of 6, Gift of Graham Gund to the Institute of Contemporary Art, Boston and the Gund Gallery, Kenyon College. Courtesy of the artist, Luhring Augustine, New York, and i8 Gallery, Reykjavik.

The entry point to Ragnar Kjartansson’s The Visitors (2012)—if you’re lucky enough to see the beginning of the looping one-hour, nine-channel video—is like awakening each day in a house full of people who were up all night while you slept. Slightly disorienting, the sound, light, and being start streaming into the gallery as each of the screens lights up. The camera is impartial: The shots[.....]

The Part in the Story Where a Part Becomes a Part of Something Else at Witte de With

Ahmet Ögüt and Cevdet Erek. Ahmet Cevdet Bey: “Jacket”, 2011.

The Part in the Story Where a Part Becomes a Part of Something Else is an exhibition that covers a lot of ground. The Witte de With Center for Contemporary Art brings together over fifty artists with multifaceted disciplines, but despite the large scale, the show can be distilled to a few threads that highlight the potential for art to create constructed moments. This underlying[.....]

From the Archives – Whose Map Is It? New Mapping by Artists

BouchraKhalili

Today from our archives we bring you Kelly Nosari’s assessment of Whose Map Is It? at the Institute of International Visual Arts in London. Considering the wars currently being waged over land in Palestine, the Ukraine, Syria, and South Sudan (to name just a few), it is interesting to note how artists approach the representation of territory. This article was originally published on July 8,[.....]

The Hidden Passengers at apexart

Guido van der Werve. Nummer zeven (the clouds are more beautiful from above), 2006; video projection, 8:48 min (video still). Courtesy of apexart.

Before the Enlightenment elevated empiricism and introduced the notion of “pseudoscience” as its foil, religion, magic, and science coexisted on a relatively level plane. Today, art remains one of few arenas that have been able to sidestep Enlightenment mandates; here, the exploration of ideas is not confined to the reproducibility of empirical data, allowing for a more unconstrained examination of the nature of things. The[.....]