Sergio Caballero combines grotesque materials, low-budget techniques, and a healthy dose of dark humor in his film Ancha La Castilla or N’importe Quoi (2014). Ancha La Castilla is the latest iteration of Black Box, a series dedicated to moving-image works at the Hirshhorn Museum in Washington, D.C. The twenty-five-minute film tells the tale of a young girl named Alegría as she becomes possessed and thus[…..]
Posts Tagged ‘film’
From our friends at Art Papers, today we bring you an essay on conservation, colonialism, and the “black market archive” of Pakistani film. Author Timothy P.A. Cooper explains, “The case filed by Iqbal Geoffrey, DesiTorrents, and the British Empire and Commonwealth Museum are haunted by traces of Pakistan’s visual cultural archive—nomadic ghosts of empire that evade the exoteric movements of decolonization in favor of fluid, informal[…..]
Today we continue our Summer Reading series with an essay on Tacita Dean’s film Day for Night. Author Juana Berrío explains, “Day for Night is a term used to describe a cinematographic technique that uses a particular camera lens to turn a scene filmed during daylight into a night-scene. In other words, it’s about capturing an image and re-presenting it under a different ‘light.’ In that[…..]
Today from our friends at Kadist Art Foundation, we bring you a talk by Pablo de Ocampo after a recent double-feature screening at their site in San Francisco. De Ocampo, Exhibitions Curator at Western Front in Vancouver, BC, discusses Chris Marker and Alain Resnais’ 1953 film, Les Statues Meurent Aussi (Statues Also Die) (1953) and Duncan Campbell’s Turner Prize-winning film It for Others (2013).
Teresa Hubbard and Alexander Birchler’s multidimensional practice is currently on view in their expansive Sound Speed Marker at the Blaffer Art Museum. The duo’s range of collaborative skills and cinematic investments is present in three video installations—Grand Paris Texas, Movie Mountain (Méliès), and Giant—and in the related photographs and an outdoor sculpture. Using as a backdrop the arid terrain of three Texas towns, Ryan, Paris,[…..]
Today from our partners at Art Practical, we bring you Anton Stuebner’s consideration of Derek Jarman: Super 8, a recent monograph from Thames & Hudson. Steubner notes, “[The book] shows an artist fully coming into his own at a social and historical moment when his distinct creative voice would become more needed than ever.” This article was originally published on April 9, 2015. In his lifetime, Derek Jarman (1942–1994) was[…..]
Today from our partners at Art Practical, we bring you Sean Uyehara’s review of The Royal Road by Jenni Olson. Uyehara notes that the film echoes “…dreams, those deferred and distorted forms of wish fulfillment, where the destination is never reached and that inevitably lead back to the thorny, tangled territory of the unconscious.” This article was originally published on March 12, 2015. Jenni Olson’s second feature-length narrative[…..]