tag:blogger.com,1999:blog-54280083089522727382024-03-13T11:24:43.573+01:00ART TORRENTSBooks, movies, texts, etc.Unknownnoreply@blogger.comBlogger370125tag:blogger.com,1999:blog-5428008308952272738.post-50481373133056450682008-09-07T19:45:00.004+02:002009-06-15T19:49:26.137+02:00ClosedThis blog is closed as of today and will be left in it's current state.<br /><br />PLEASE NOTE: Synergy; I still invite people to KaraGarga. I receive a fair amount of emails; write a few words about what you have to contribute.Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-21841019124197431742008-08-13T22:28:00.000+02:002008-08-13T22:29:50.561+02:00Hiraki Sawa - Elsewhere / Spotter (2002 - 2003)<span style="font-size:100%;"><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img209.imageshack.us/img209/384/sawa1qg4.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img209.imageshack.us/img209/384/sawa1qg4.jpg" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img391.imageshack.us/img391/555/sawa2wb8.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img391.imageshack.us/img391/555/sawa2wb8.jpg" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img525.imageshack.us/img525/3421/sawa4qf3.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img525.imageshack.us/img525/3421/sawa4qf3.jpg" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img370.imageshack.us/img370/6508/sawa3ly6.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img370.imageshack.us/img370/6508/sawa3ly6.jpg" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img93.imageshack.us/img93/6571/sawa5aq8.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img93.imageshack.us/img93/6571/sawa5aq8.jpg" alt="" border="0" /></a><br /><span style="font-family: georgia;">Hiraki Sawa was born in Ishikawa, Japan in 1977 and currently lives in London. He uses lo-tech video animation to create poetic dreamscapes - ruminations on ideas of time and motion, innocence and alienation, dislocation and displacement. His seminal film, 'Dwelling', 2002 was accomplished while still a graduate student at the Slade School of Fine Art, London, and brought him to the attention of the international art world through exhibitions including New Contemporaries and East International. Certain leitmotifs recur throughout the films - a child's rocking horse, migrating animals, model jet planes - objects which play out notions of travel and nomadism, of being at home and thinking of elsewhere.</span><br /><br /><span style="font-family: georgia;">Elsewhere (2003)</span><br /><span style="font-family: georgia;">b&w</span><br /><span style="font-family: georgia;">Duration 7:40</span><br /><br /><span style="font-family: georgia;">Spotter (2003)</span><br /><span style="font-family: georgia;">b&w</span><br /><span style="font-family: georgia;">Duration 7:40</span><br /><br /><br /><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-36168110468294087142008-08-13T22:26:00.003+02:002008-08-13T22:28:35.838+02:00Marcel Broodthaers - A Voyage on the North Sea (1974)<span style="font-size:100%;"><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img108.imageshack.us/img108/95/66792945sr5.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img108.imageshack.us/img108/95/66792945sr5.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img399.imageshack.us/img399/5430/10939925ab5.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img399.imageshack.us/img399/5430/10939925ab5.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img108.imageshack.us/img108/2969/35931884wy1.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img108.imageshack.us/img108/2969/35931884wy1.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img108.imageshack.us/img108/2051/69197963ur2.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img108.imageshack.us/img108/2051/69197963ur2.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img108.imageshack.us/img108/2373/83675303jm5.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img108.imageshack.us/img108/2373/83675303jm5.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img518.imageshack.us/img518/646/80353230et4.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img518.imageshack.us/img518/646/80353230et4.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img108.imageshack.us/img108/7557/91516371sl8.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img108.imageshack.us/img108/7557/91516371sl8.png" alt="" border="0" /></a><span style="font-family: georgia;">Between 1957 and his death in 1976, Marcel Broodthaers made approximately fifty films. The exact number is difficult to determine: Several no longer exist; some are multipart "programs" assembled from groups of short films (many appropriated from industrial or otherwise "authorless" sources); and others are subtle variations on previous works. A recent exhibition at pioneering curator and collector Thomas Solomon's new gallery, Solo Projects, paired a 16-mm silent film, Un Voyage en Mer du Nord (A Voyage on the North Sea), 1973-74, with a thirty-eight-page, French-bound book that shares its title and ostensible subject matter: the pairing of a late-nineteenth-century amateur painting of an archetypal European ship and a twentieth-century photograph of a pleasure boat against a modern urban backdrop. The roughly four-minute film is projected on a retractable home-movie screen--a Broodthaers motif--and the book displayed on a simple wooden shelf, lit by a single spotlight.</span><br /><br /><span style="font-family: georgia;">Un Voyage's almost obsolete format and pedagogical presentation gave the show the feeling of a historical document. In each work, Broodthaers "cuts" into the painting and the photograph by focusing on small details. The artist is said to have dated the painting to around 1900, and initially it seems that Un Voyage is delivering a rigorous structural analysis based on formal and historical oppositions marking the divide between the nineteenth century and the twentieth: novel versus cinema; painting versus photography; shipping as commerce versus sailing as leisure. But the work does more than this. By using splicing, binding, and repetition to join these apparent opposites, it performs a complex overlapping of materiality and history. Punctuated by intertitles that demarcate fifteen "pages," the film insinuates a relationship to contemporaneous structuralist cinema--think of the wall-mounted seascape photograph that is central to (and literally at the center of) Michael Snow's forty-five-minute zoom in Wavelength, 1967. But again the comparison unravels as the film in Un Voyage undermines its own apparent logic, repeating "page" five twice, for example, or inserting a brief closeup of cotton weave where one would expect a shot of the painted canvas.</span><br /><br /><span style="font-family: georgia;">The film and book represent Broodthaers's interest in reproducible media, though the relatively small edition--just one hundred examples of the pair were produced--also suggests that the artist was not aiming for a mass audience. The evidence indicates that Broodthaers was interested in complicating the status of these objects by subverting any notion of an "original" or definitive version. It should be noted that Un Voyage follows directly from several 1973 works not included in the exhibition, among them two 16-mm films--Analyse d'une peinture and Une peinture d'amateur decouverte dans une boutiquede curiosities--and a slide projection, Bateau Tableau. Un Voyage itself in many ways resembles a slide show: Testing the limits of the cinematic, Broodthaers injects a dose of humor by assembling a deliberately inert motion picture from still images.</span><br /><br /><span style="font-family: georgia;">While Broodthaers's practice is often defined within the limited framework of institutional critique, the breadth and sheer unruliness of his project suggests that one might just as easily place him alongside an artist such as Bruce Conner, with whom he shared both a penchant for found footage and a somewhat after-the-fact Surrealist sense of humor. A 1971 film program by Broodthaers, in which he appropriated the 20th Century Fox logo, also aligns him with Ed Ruscha, who used the same image in 1962, and presages Jack Goldstein's use of the MGM Lion. Solomon's presentation of Un Voyage at this particular moment raises subtle questions about the mediation and proliferation of images, allowing Broodthaers's interrogation of pictures from the past to implicate our digital present.</span><br /><br /><span style="font-family: georgia;">You know where.</span><br /><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-15769688020104383692008-08-09T09:18:00.003+02:002008-08-09T09:19:07.922+02:00Gary Hill - Blind Spot (2003)<span style="font-size:100%;"><span style="font-family: georgia;">Born in Santa Monica, California in 1951, Gary Hill was a surfer who became interested in sculpture in high school. He studied sculpture and painting in Woodstock, New York, and in 1973 he borrowed a video portapak from Woodstock Community Video (WCV). From 1974 to 1976 he was TV lab coordinator at WCV, producing tapes that "arose out of a dialogue with the properties of the medium." From 1975 to 1977 Hill was an artist-in-residence at the Experimental Television Center in Owego, New York, where he made use of various tools including the Rutt/Etra Scan Processor and David Jones's colorizer which Hill helped build. In 1976 Hill met poet George Quasha who, along with Charles Stein, inspired Hill's first experiments with language. Hill's early works investigated synthesized imagery, ecological subjects, and post-minimal political statements (Hole in the Wall, 1974). Hill's works exploring the intertextuality of image, sound, speech, and language emerged in the late 70s and early 80s, such as Soundings (1979) and Around and About (1980). Hill has gained an international reputation for his video art tapes and installations.</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img181.imageshack.us/img181/1443/45298065tk4.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img181.imageshack.us/img181/1443/45298065tk4.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img146.imageshack.us/img146/6347/31528634gq8.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img146.imageshack.us/img146/6347/31528634gq8.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img181.imageshack.us/img181/7435/26195809kw6.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img181.imageshack.us/img181/7435/26195809kw6.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img181.imageshack.us/img181/6484/66969401lg0.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img181.imageshack.us/img181/6484/66969401lg0.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img158.imageshack.us/img158/3682/90230293cc5.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img158.imageshack.us/img158/3682/90230293cc5.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img58.imageshack.us/img58/8597/43098274ob4.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img58.imageshack.us/img58/8597/43098274ob4.png" alt="" border="0" /></a><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-6424298858219462752008-08-09T09:16:00.001+02:002008-08-09T09:18:01.052+02:00Marcel Broodthaers - Le corbeau et le renard (1968)<span style="font-family: georgia;">Marcel Broodthaers (January 28, 1924 – January 28, 1976) was a Belgian poet, filmmaker and artist with a highly literate and often witty approach to creating art works.</span><br /><br /><span style="font-family: georgia;">He was born in Brussels, Belgium, where he was associated with the Groupe Surréaliste-revolutionaire from 1945 and dabbled in journalism, film, and poetry. After spending 20 years in poverty as a struggling poet[1], he performed the symbolic act of embedding fifty unsold copies of his book of poems Pense-Bête in plaster, creating his first art object. That same year, 1964, for his first exhibition, he wrote a famous preface for the exhibition catalogue;</span><br /><br /><span style="font-family: georgia;">\"I, too, wondered whether I could not sell something and succeed in life. For some time I had been no good at anything. I am forty years old... Finally the idea of inventing something insincere finally crossed my mind and I set to work straightaway. At the end of three months I showed what I had produced to Philippe Edouard Toussaint, the owner of the Galerie St Laurent. \'But it is art\' he said \'and I will willingly exhibit all of it.\' \'Agreed\' I replied. If I sell something, he takes 30%. It seems these are the usual conditions, some galleries take 75%. What is it? In fact it is objects.\" Broodthaers, 1964[2]</span><br /><br /><span style="font-family: georgia;">He worked principally with assemblies of found objects and collage, often containing written texts. His most noted work was an installation in his Brussels house which he called Musée d\'Art Moderne, Départment des Aigles (1968). This installation was followed by a further eleven manifestations of the \'museum\', including at the Düsseldorf Kunsthalle for an exhibition in 1970 and at documenta 5 in Kassel in 1972. For such works he is associated with the late 20th century global spread of both installation art, as well as \"institutional critique,\" in which interrelationships between artworks, the artist, and the museum are a focus.</span><br /><br /><span style="font-family: georgia;">Broodthaers died in Cologne, Germany on his 52nd birthday.</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img363.imageshack.us/img363/4900/62773754fk4.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img363.imageshack.us/img363/4900/62773754fk4.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img115.imageshack.us/img115/7752/27396407qa6.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img115.imageshack.us/img115/7752/27396407qa6.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img292.imageshack.us/img292/687/69492129ub9.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img292.imageshack.us/img292/687/69492129ub9.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img145.imageshack.us/img145/4585/17676840pn9.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img145.imageshack.us/img145/4585/17676840pn9.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img115.imageshack.us/img115/6800/88261916ok7.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img115.imageshack.us/img115/6800/88261916ok7.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img292.imageshack.us/img292/830/81619281zf5.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img292.imageshack.us/img292/830/81619281zf5.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img115.imageshack.us/img115/8397/49304010eq1.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img115.imageshack.us/img115/8397/49304010eq1.png" alt="" border="0" /></a>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-61423187450879332552008-08-09T09:15:00.000+02:002008-08-09T09:16:42.607+02:00Oliver Payne & Nick Relph - Comma, Pregnant Pause (2004)<span style="font-size:100%;"><span style="font-family: georgia;">Comma, Pregnant Pause, 2004 (27 minutes)</span><br /><br /><span style="font-family: georgia;">A comma indicates a pause or break between parts of a sentence; in</span><br /><span style="font-family: georgia;">spoken communication, a pregnant pause is one that is full of meaning</span><br /><span style="font-family: georgia;"> – significant – suggestive. This video features mobile phones, in whose</span><br /><span style="font-family: georgia;">text messages commas are seldom used. There are often, however,</span><br /><span style="font-family: georgia;">pregnant pauses during the wait for a reply. This work starts with the</span><br /><span style="font-family: georgia;">commentary:</span><br /><br /><span style="font-family: georgia;">‘I want to be the best there ever was, to beat all the best that's my</span><br /><span style="font-family: georgia;">cause.’</span><br /><br /><span style="font-family: georgia;">The video is dominated by two seated people dressed as mobile phones.</span><br /><span style="font-family: georgia;">Their costumes are based on ‘Mowbli’, the ubiquitous mobile phone logo</span><br /><span style="font-family: georgia;">from Carphone Warehouse, and their faces are covered by scary-looking</span><br /><span style="font-family: georgia;">masks, taken from the popular series of films Scream, 1996, 1997, 2000,</span><br /><span style="font-family: georgia;">and Scary Movie, 2000, 2001, 2003, but originating in Edward Munch’s</span><br /><span style="font-family: georgia;">painting, The Scream, 1893. Their conversation is indicated by two</span><br /><span style="font-family: georgia;">different text alerts – ‘1,2,3,4’ and a musical sound, like a guitar or harp</span><br /><span style="font-family: georgia;"> – whilst each text message appears as a series of subtitles. The</span><br /><span style="font-family: georgia;">conversations are fractured, featuring messages such as, ‘the newest</span><br /><span style="font-family: georgia;">thing is now wearing the word’. Young people are part of a texting culture in</span><br /><span style="font-family: georgia;">which messages sometimes go astray, so spoken conversation would often</span><br /><span style="font-family: georgia;">be more efficient.</span><br /><br /><span style="font-family: georgia;">The background imagery varies throughout:</span><br /><br /><span style="font-family: georgia;">• a CD spinning round and multiplying to form numerous CDs</span><br /><span style="font-family: georgia;">• a rotating white plastic pizza divider from the centre of a take-away box</span><br /><span style="font-family: georgia;">• sunsets appropriated from the Internet</span><br /><span style="font-family: georgia;">• various digitised patterns</span><br /><span style="font-family: georgia;">• text in dots zooming illegibly across the screen</span><br /><span style="font-family: georgia;">• a JJB Sports shop</span><br /><span style="font-family: georgia;">• a black-and-white William Morris print, which becomes more and more smudged.</span><br /><br /><span style="font-family: georgia;">At times, the phones disappear, to be replaced by the legs and bicycle</span><br /><span style="font-family: georgia;">wheels of passers-by, repeated as split-screen mirror images so the legs</span><br /><span style="font-family: georgia;">move in a comic way. Using the same split-screen effect, American football</span><br /><span style="font-family: georgia;">players are also featured.</span><br /><br /><span style="font-family: georgia;">Later on, a third person enters dressed in a black suit, white shirt and holey</span><br /><span style="font-family: georgia;">socks, wearing a Jar Jar Binks mask from Star Wars: Episode I, 1999. He</span><br /><span style="font-family: georgia;">sits on a tin and starts a rap-like monologue with:</span><br /><br /><span style="font-family: georgia;">‘I'm knackered, I'm knackered</span><br /><span style="font-family: georgia;">I'm fucking back-packered</span><br /><span style="font-family: georgia;">smack-thwackered at the end of the shelf of the rack</span><br /><span style="font-family: georgia;">of the aisle at the store where you don't go back</span><br /><span style="font-family: georgia;">but all the while I could see, I could see</span><br /><span style="font-family: georgia;">the crack at the back of the blister pack.’</span><br /><br /><span style="font-family: georgia;">On the whole, *Payne* and Relph reject the authoritative voice-overs</span><br /><span style="font-family: georgia;">apparent in many documentary films in favour of texts that take the form</span><br /><span style="font-family: georgia;">of email dialogues between them. These narratives are not conventional,</span><br /><span style="font-family: georgia;">and the narrators are always male.</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-2536842.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-2536842.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-2537472.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-2537472.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-2539525.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-2539525.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-2538223.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-2538223.png" alt="" border="0" /></a><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-44135113303465459402008-08-05T13:53:00.002+02:002008-08-05T13:54:31.800+02:00Cyrus Frisch - Vergeef me AKA Forgive me (2001)A Mediamatic screening of the film by Cyrus Frisch, in which the method actors are heavyweight addicts and the story is an intentional double of a play and borderlines on that which is wrong.<br />Forgive me is the film adaptation of Cyrus Frisch's controversional play Jesus/Lover, which was performed by HARDDRUG ADDICTS and ALCOHOLISTS. Frisch first plays with the actors, to later be able to find the enraged viewer who is getting worked up because it is wrong, what I am doing here.<br />This film with Frisch as Jesus disguised as Jerry Springer is not light on the stomach. But those who can take it will get to know some extraordinary people - even the angry ones.<br />Forgive me (Vergeef me) by Cyrus Frisch has recently been released on DVD by Reel23.<br /><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img257.imageshack.us/img257/2900/clip1ba0.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img257.imageshack.us/img257/2900/clip1ba0.png" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img403.imageshack.us/img403/3593/clip2ko2.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img403.imageshack.us/img403/3593/clip2ko2.png" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img145.imageshack.us/img145/2564/clip5du9.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img145.imageshack.us/img145/2564/clip5du9.png" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img145.imageshack.us/img145/1185/clip4sx6.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img145.imageshack.us/img145/1185/clip4sx6.png" alt="" border="0" /></a><br /><a onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img145.imageshack.us/img145/2535/clip7ub1.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img145.imageshack.us/img145/2535/clip7ub1.png" alt="" border="0" /></a>Available at KaraGarga.Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-62893434741382778722008-08-05T02:08:00.000+02:002008-08-05T02:09:04.797+02:00Leos Carax - Pola X (1999)<span style="font-family: georgia;">A successful, carefree young writer, Pierre (Guillaume Depardieu), lives in an enormous, pristine chateau in Normandy with his adoring mother, who he calls Sister (Catherine Deneuve). He is engaged to be married to a lovely young woman who adores him, and he has just reunited with his cousin, whom he loves deeply. But Pierre is haunted by a vision in his dreams of a strange, dark-haired peasant woman who attracts him in unexplainable ways. When she suddenly appears, stumbling out of the woods and claiming that she is his long-lost sister, Isabelle (Katerina Golubeva), he falls blindly, madly in love with her. Tearing out of Normandy and heading for Paris, Pierre discredits everything in his life including his family, his friends, and his money. He takes Isabelle to an abandoned warehouse run by a cult, where they live together in deranged passionate misery.</span><br /><br /><span style="font-family: georgia;">POLA X, an intense, gripping, all-consuming film, is Leos Carax's (THE LOVERS ON THE BRIDGE) most simultaneously disturbing and beautiful movie. Based on the haunting novel by Herman Melville, PIERRE OR THE AMBIGUITIES, the film breaks down all the boundaries of familial love, then proceeds to do the same for the human psyche. Featuring lush photography that tricks the eye and taunts the mind, the filming is superb. As the story progresses and grows more complicated, the scenery changes from spacious green summer foliage to cold, cluttered, industrial structure. The sound is embracing, the acting is precise, and the feeling of the film is positively captivating.</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img105.imageshack.us/img105/7140/vlcsnap3576888ul9.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img105.imageshack.us/img105/7140/vlcsnap3576888ul9.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img204.imageshack.us/img204/146/vlcsnap3590371ju3.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img204.imageshack.us/img204/146/vlcsnap3590371ju3.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img444.imageshack.us/img444/1692/vlcsnap3637878rq5.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img444.imageshack.us/img444/1692/vlcsnap3637878rq5.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img159.imageshack.us/img159/9993/vlcsnap3629573se7.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img159.imageshack.us/img159/9993/vlcsnap3629573se7.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img65.imageshack.us/img65/4431/vlcsnap3641174dm3.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img65.imageshack.us/img65/4431/vlcsnap3641174dm3.png" alt="" border="0" /></a><br /><span style="font-family: georgia;">Available at KaraGarga.</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-14620084653062451132008-08-05T01:53:00.001+02:002008-08-05T01:55:25.862+02:00Stephen Kijak - Scott Walker: 30 Century Man (2006)<span style="font-size:100%;"><span style="font-family: georgia;">“Scott Walker: 30 Century Man” is a long-overdue look at one of the most influential and enigmatic figures in rock history.The film explores his music and career, from his early days as a jobbing bass player on the Sunset Strip, to mega-stardom in Britain’s swinging 60’s pop scene as lead singer of The Walker Brothers, to his evolution into one of the most astonishing soundmakers of the last few decades.</span><br /><span style="font-family: georgia;">He’s 63 years old and released his first album in over 10 years, “The Drift” on 4 A.D. Records last year to wide-spread critical acclaim. The film features exclusive behind-the-scenes footage of the making of the album as well as interviews with friends, collaborators, and fans including, among others:</span><br /><span style="font-family: georgia;">David Bowie, Radiohead, Jarvis Cocker (Pulp), Brian Eno, Damon Albarn (Blur, Gorillaz), Neil Hannon (The Divine Comedy)(DVD only), Marc Almond, Alison Goldfrapp, Sting, Dot Allison, Simon Raymonde (Cocteau Twins), Richard Hawley, Rob Ellis, Johnny Marr (The Smiths/Modest Mouse), Gavin Friday, Lulu, Peter Olliff, Angela Morley, Ute Lemper, Ed Bicknell, Evan Parker, Hector Zazou, Mo Foster, Phil Sheppard, Pete Walsh, and more.</span><br /><br /><span style="font-family: georgia;">Directed by Stephen Kijak, who brought you the delightfully deranged documentary CINEMANIA (a profile of 5 of NYC’s most manic film buffs), this is a different form of obsession altogether. Inspiring god-like devotion from fans, Scott Walker’s has a cult that has grown considerably since his 1995 release “Tilt”, a dark and difficult masterwork. His new album takes that sound further than anyone could have imagined…</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i54.photobucket.com/albums/g108/eclecticus/KG/title.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i54.photobucket.com/albums/g108/eclecticus/KG/title.jpg" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://ec1.images-amazon.com/images/I/51e8rFHp7zL._.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://ec1.images-amazon.com/images/I/51e8rFHp7zL._.jpg" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i54.photobucket.com/albums/g108/eclecticus/KG/key.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i54.photobucket.com/albums/g108/eclecticus/KG/key.jpg" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i54.photobucket.com/albums/g108/eclecticus/KG/rosary.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i54.photobucket.com/albums/g108/eclecticus/KG/rosary.jpg" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i54.photobucket.com/albums/g108/eclecticus/KG/studio.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i54.photobucket.com/albums/g108/eclecticus/KG/studio.jpg" alt="" border="0" /></a><br /><span style="font-family: georgia;">Available at KaraGarga.</span><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-77903223567264854752008-08-03T22:58:00.000+02:002008-08-03T22:59:59.495+02:00Harun Farocki - Bewerbung, Die (1996)<span style="font-family: georgia;">From his work in the fiction mode to documentary to installation, German filmmaker Harun Farocki has consistently explored ideas of language, ideology, perception, and contemporary audio-visual culture. In this unique documentary, Farocki draws on the anxiety of unemployment as he follows the efforts of several candidates who take part in a training program designed to teach them how to apply for a job. The goal is to learn how to market and sell themselves, a goal that Farocki exposes as demeaning and superficial. An insightful look at the manipulative tactics of big business, Farocki's film is as thought provoking as it is revealing. In German with English subtitles.</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img221.imageshack.us/img221/6364/harun01xm0.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img221.imageshack.us/img221/6364/harun01xm0.jpg" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img221.imageshack.us/img221/8840/harun02li5.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img221.imageshack.us/img221/8840/harun02li5.jpg" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img58.imageshack.us/img58/7041/harun03hy9.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img58.imageshack.us/img58/7041/harun03hy9.jpg" alt="" border="0" /></a><br /><span style="font-family: georgia;">Available at KaraGarga.</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-26511721493321462252008-08-03T22:50:00.002+02:002008-08-03T22:57:43.254+02:00Various - Animated Painting (2007)<span style="font-family: georgia;">The San Diego Museum of Art organized a state-of-the-art exhibition which showcases the latest trend in animated art by contemporary artists. It ran from October 13, 2007, to January 13, 2008, and featured 25 cinematic works by 14 international contemporary artists who adapt traditional painting and drawing methods to the concepts and technologies of animation.</span><br /><br /><span style="font-family: georgia;">Animated Painting presents some of the most compelling artists working with these new hybrid strategies which have been increasingly used by contemporary artists over the last several years.</span><br /><br /><span style="font-family: georgia;">The works on display show two predominant approaches in animation. While some artists are maintaining the practice of handmade images, which is immersed in styles of traditional drawing and painting or forms of conventional animation, other artists are working with live action sources that are either self-generated or taken from popular culture and then digitally recoded into a painterly style. Animated Painting shows how digital media is transforming older art forms and how contemporary artists are providing a fresh take on the popular, commercially-dominated art form of animation. By taking animation out of its commercial context and incorporating it into fine art, artists are able to accomplish results that are not necessarily found in its commercial use and that offer a timebased method in which to convey their message. The exhibition also highlights the widespread globalization of moving image art and its growing accessibility to new audiences.</span><br /><br /><span style="font-family: georgia;">“This is a groundbreaking and visually stunning exhibition. SDMA is proud to present these challenging works,” says the Museum’s executive director, Derrick Cartwright. “As digital art has grown in popularity over the past few years, museums have a broad responsibility to contextualize these representations. Animated Painting does an excellent job at making this work accessible to diverse audiences. The exhibition provides visitors with an opportunity to explore a growing trend in contemporary art and to enjoy a wide variety of new time-based works by leading international artists.” Highlights of Animated Painting include William Kentridge’s animated film Tide Table (2005); computer animated figures by Julian Opie that will be displayed outside of the Museum; Jeremy Blake’s digital video Sodium Fox (2005); and Sadie Benning’s video projection of hand-made drawings, Play Pause (2006). In addition, Wit Pimkanchanapong has been commissioned to create a site design for the exhibition space. The artist’s ceiling design is based on an analog progression of imagery and will be printed on sheets of suspended paper. Animated Painting also showcases the close relationship between contemporary art, popular culture, and progressive musical styles as several works feature new compositions and audio soundscapes.</span><br /><br /><span style="font-family: georgia;">The artists participating in the exhibition are the Barnstormers, Sadie Benning, Jeremy Blake, Sebastián Díaz Morales, Kota Ezawa, Ruth Gómez, William Kentridge, Ann Lislegaard, Takeshi Murata, Serge Onnen, Julian Opie, Wit Pimkanchanapong, Qiu Anxiong, and Robin Rhode.</span><br /><br /><span style="font-family: georgia;">Animated Painting is accompanied by a scholarly catalogue featuring essays by the exhibition’s curator Betti-Sue Hertz, animation studies scholar Suzanne Buchan, and media theorist Lev Manovich, an exhibition checklist, artist biographies, and a DVD with sample clips of the works in the exhibition. After its run at the San Diego Museum of Art, the exhibition will be on view at the Centro Cultural Tijuana (CECUT) in Tijuana, Mexico, from October 1 through December 31, 2008, and at the Faulconer Gallery at Grinnell College in Grinnell, Iowa, from February 6 through April 19, 2009.</span><br /><br /><span style="font-family: georgia;">Animated Painting is organized by the San Diego Museum of Art. This exhibition is made possible by the generous support of the Krichman Family Fund of the Jewish Community Foundation, the Horace W. Goldsmith Foundation, and the African Arts Council of the San Diego Museum of Art. Additional support is provided by the City of San Diego Commission for Arts and Culture, the County of San Diego’s Community Enhancement Program, and members of the San Diego Museum of Art.</span><br /><br /><br /><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/Picture1-28.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/Picture1-28.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/Picture10-8.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/Picture10-8.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/Picture12-4.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/Picture12-4.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/Picture11-6.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/Picture11-6.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/Picture13-4.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/Picture13-4.png" alt="" border="0" /></a><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/Picture2-28.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/Picture2-28.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/Picture3-18.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/Picture3-18.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/Picture5-13.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/Picture5-13.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/Picture4-15.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/Picture4-15.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/Picture6-12.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/Picture6-12.png" alt="" border="0" /></a><br /> <a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/Picture7-12.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/Picture7-12.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/Picture8-11.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/Picture8-11.png" alt="" border="0" /></a><br /> <a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/Picture9-8.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/Picture9-8.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12606897.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12606897.png" alt="" border="0" /></a><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12607009.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12607009.png" alt="" border="0" /></a><br /> <a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12607151.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12607151.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12607424.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12607424.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12607715.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12607715.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12607563.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12607563.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12607930.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12607930.png" alt="" border="0" /></a><br /> <a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12608137.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12608137.png" alt="" border="0" /></a><br /> <a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12608200.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12608200.png" alt="" border="0" /></a><br /> <a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12608363.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12608363.png" alt="" border="0" /></a><br /> <a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12608311.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12608311.png" alt="" border="0" /></a><br /> <a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12608446.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-12608446.png" alt="" border="0" /></a><br /><span style="font-family: georgia;">Available at KaraGarga or </span><a style="font-family: georgia;" href="http://anonym.to/?http://www.amazon.com/Animated-Painting-Betti-Sue-Hertz/dp/0937108375/ref=pd_bbs_sr_1?ie=UTF8&s=books&qid=1217609691&sr=8-1">Amazon</a><span style="font-family: georgia;">.</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-46955876969492819232008-07-28T15:26:00.002+02:002008-07-28T15:30:14.368+02:00Destroy All Monsters & Mike Kelley & Carey Loren - Grow Live Monsters (2007)<a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img386.imageshack.us/img386/9646/coverwi8.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img386.imageshack.us/img386/9646/coverwi8.jpg" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img443.imageshack.us/img443/6762/backcoveryw7.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img443.imageshack.us/img443/6762/backcoveryw7.jpg" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img519.imageshack.us/img519/6619/vlcsnap13900558hg7.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img519.imageshack.us/img519/6619/vlcsnap13900558hg7.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img379.imageshack.us/img379/16/vlcsnap13899934dm1.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img379.imageshack.us/img379/16/vlcsnap13899934dm1.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img339.imageshack.us/img339/4732/vlcsnap13900842vo3.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img339.imageshack.us/img339/4732/vlcsnap13900842vo3.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img205.imageshack.us/img205/1637/vlcsnap13901290hl0.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img205.imageshack.us/img205/1637/vlcsnap13901290hl0.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img362.imageshack.us/img362/4510/vlcsnap13903080vd2.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img362.imageshack.us/img362/4510/vlcsnap13903080vd2.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img205.imageshack.us/img205/5563/vlcsnap13903311cz0.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img205.imageshack.us/img205/5563/vlcsnap13903311cz0.png" alt="" border="0" /></a><br /><span style="font-family: georgia;">Grow Live Monsters is a selection from short home-made no-budget 8mm, super 8 and 16mm film fantasies made between 1971-1976. Most of the films revolved around a group of friends and the wall of noise they would create in basement cellars and in live performance. This was Destroy All Monsters, one of the most avant-garde 'bands' of all time. Featuring artists Niagra, Jim Shaw, Corey Loren and Mike Kelley, Destroy All Monsters is like nothing else. Ever. Psychedelic meets noise meets high and low brow art in a Midwestern blender. Say goodbye to your retinas." DVD Contents: "Grow Live Monsters (1971-1976)" - The early films of DAM; "Shake A Lizard Tail or Rust Belt Rump" - Montage of late-night TV adverts, techno club dancers, and Z grade monster clips; "Monsters Redux" - Outtakes, concert footage, band memorabilia, and photos; "DAM Invades Seattle" - Performance footage from Seattle, 2000; "Hometown Horrors" - Band photos and production stills. Total running time: approx. 145 minutes "Grow Live Monsters is a selection from short home-made no-budget 8mm, super 8 and 16mm film fantasies made between 1971-1976. Most of the films revolved around a group of friends and the wall of noise they would create in basement cellars and in live performance. This was Destroy All Monsters, one of the most avant-garde 'bands' of all time. Featuring artists Niagra, Jim Shaw, Corey Loren and Mike Kelley, Destroy All Monsters is like nothing else. Ever. Psychedelic meets noise meets high and low brow art in a Midwestern blender. Say goodbye to your retinas." DVD Contents: "Grow Live Monsters (1971-1976)" - The early films of DAM; "Shake A Lizard Tail or Rust Belt Rump" - Montage of late-night TV adverts, techno club dancers, and Z grade monster clips; "Monsters Redux" - Outtakes, concert footage, band memorabilia, and photos; "DAM Invades Seattle" - Performance footage from Seattle, 2000; "Hometown Horrors" - Band photos and production stills.</span><br /><br /><span style="font-family: georgia;">Available at KaraGarga.</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-63697099680642061682008-07-24T15:42:00.001+02:002008-07-24T15:45:04.742+02:00Alan Zweig - Lovable (2007)<a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img404.imageshack.us/img404/7170/lovable8fn0.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img404.imageshack.us/img404/7170/lovable8fn0.png" alt="" border="0" /></a><br /><span style="font-family: georgia;font-size:100%;" >At some point, everyone has asked the question, why is it so hard to find love? In this final installment of the autobiographical trilogy that includes Vinyl and I, Curmudgeon, Alan Zweig reflects with disarming candour on why, if he longs for a partner and children, he is still single at mid-life.<br /><br /></span><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img250.imageshack.us/img250/2518/zweig2ic1.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img250.imageshack.us/img250/2518/zweig2ic1.png" alt="" border="0" /></a><br /><span style="font-family: georgia;font-size:100%;" >Through intimate, heartfelt and often hilarious interviews with a series of diverse, smart and attractive single women, Zweig explores yearnings for the romantic myths of our culture and the difficulty of finding and sustaining relationships.<br /><br /></span><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img232.imageshack.us/img232/4328/zweig7ld8.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img232.imageshack.us/img232/4328/zweig7ld8.png" alt="" border="0" /></a><br /><span style="font-family: georgia;font-size:100%;" >Some women have come to accept and prefer being alone, but many still dream of a future they can share. Rather than remaining the objective observer, Zweig approaches his female subjects as kindred spirits, sharing their vulnerability and openness. A perfect mixed tape of love songs provides the backdrop for this courageously candid look at love and longing. - Hot Docs<br /><br /></span><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img292.imageshack.us/img292/2810/zweig1hx1.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img292.imageshack.us/img292/2810/zweig1hx1.png" alt="" border="0" /></a><span style="font-family: georgia;font-size:100%;" ><br />The last in the introspective trilogy that includes Vinyl and I, Curmudgeon.</span><span style="font-family: georgia;"> Available at KaraGarga.</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-15712884135544885002008-07-24T15:41:00.000+02:002008-07-24T15:42:32.538+02:00Alan Zweig - I, Curmudgeon (2004)<span style="font-family: georgia;">In this often very funny enquiry into crankiness, Toronto filmmaker Alan Zweig interviews notable curmudgeons like Fran Lebowitz, Harvey Pekar and Bruce LaBruce. Zweig wants to know what their frickin' problem is and, more importantly, whether it's the same as his. As in Vinyl, his equally irascible doc on record collectors, the endearingly dour filmmaker spends much of I, Curmudgeon spilling his guts directly to his camera and torturing himself with big questions that he can never answer satisfactorily. Zweig then confronts his subjects with the same questions, thereby making them even grouchier. (How grouchy? Andy Rooney is moved to kick Zweig out of his office.) Though I, Curmudgeon's meandering structure and incessant jump-cuts are irritants, they're also appropriate to the movie's abrasive, anti-social personality. Consider this a testament to the power of negative thinking. - Eye Weekly</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img78.imageshack.us/img78/9757/vlcsnap2262202zb9.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img78.imageshack.us/img78/9757/vlcsnap2262202zb9.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img71.imageshack.us/img71/2471/vlcsnap2261929eo3.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img71.imageshack.us/img71/2471/vlcsnap2261929eo3.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img71.imageshack.us/img71/5396/vlcsnap2263290vh7.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img71.imageshack.us/img71/5396/vlcsnap2263290vh7.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img513.imageshack.us/img513/151/vlcsnap2262467xk4.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img513.imageshack.us/img513/151/vlcsnap2262467xk4.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img78.imageshack.us/img78/8283/vlcsnap2265002wj2.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img78.imageshack.us/img78/8283/vlcsnap2265002wj2.png" alt="" border="0" /></a><span style="font-family: georgia;">Available at KaraGarga.</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-84949143964658626672008-07-24T15:39:00.002+02:002008-07-24T15:40:24.927+02:00Alan Zweig - Vinyl (2000)<span style="font-size:100%;"><span style="font-family: georgia;">This is a study of the joy and the madness of collecting things, in this case records. However, im pretty sure that regarless of what media you collect, you will recognize yourself in the individuals portrayed in here.</span><br /><br /><span style="font-family: georgia;">Nice vhs-rip, not as blurry as the screenshots below indicate.</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://web.telia.com/%7Eu22316970/Vinyl/snapshot20060108215154.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://web.telia.com/%7Eu22316970/Vinyl/snapshot20060108215154.JPG" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://web.telia.com/%7Eu22316970/Vinyl/snapshot20060108215508.JPG"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://web.telia.com/%7Eu22316970/Vinyl/snapshot20060108215508.JPG" alt="" border="0" /></a><span style="font-family: georgia;">Available at KaraGarga.</span><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-11107510904653452982008-07-23T12:30:00.002+02:002008-07-23T12:35:02.507+02:00John Cage - Variations V (1965)<span style="font-size:100%;"><span style="font-family: georgia;">Already uploaded Variations VII, so here's the earlier, legendary work that premiered at New York's Philharmonic Hall (!) in 1965. This recording was from a german performance taped for television broadcast the next year. I'm listing John Cage as the director, since he's the mastermind here, but if you know Cage, you understand what a misnomer this is. "Collaborative" doesn't get the half of it: you've got Stan VanDerBeek's films, Nam June Paik's video, David Tudor, Gordon Mumma and John Cage on various tape machines rigged up by Robert Moog and Billy Kluver, Merce Cunningham and company doing movement, actual video here is somebody named Arne Arnbom, but don't know if editing was supervised by VanDerBeek, may have been. The video quality is poor, I've tried to preserve what little there was by not compressing too much - sound is great though. Full 50 min, including a 5 min opening commentary in german without subtitles. German speakers on KG - come lend a hand! - mediaburn(user on KaraGarga)</span><br /><br /><span style="font-family: georgia;">John Cage made «Variations V» in 1965 for the Merce Cunningham Dance Company. He and David Tudor settled on two systems for the sound to be affected by movement. For the first, Billy Klüver and his colleagues set up a system of directional photocells aimed at the stage lights, so that the dancers triggered sounds as they cut the light beams with their movements. A second system used a series of antennas. When a dancer came within four feet of an antenna a sound would result. Ten photocells were wired to activate tape-recorders and short-wave radios. Cecil Coker designed a control circuit, which was built by my assistant Witt Wittnebert. Film footage by Stan VanDerBeek and Nam June Paik's manipulated television images were projected on screens behind the dancers.</span><br /><span style="font-family: georgia;">The score was created by flipping coins to determine each element and consisted of thirty-five «remarks» outlining the structure, components, and methodology. The specific sound score would change at each performance as it was created by radio antennas responding to the dancers' movements.</span><br /><br /><span style="font-family: georgia;">The photocells were located at the base of the five-foot antennas placed around the stage. Cage, Tudor, and Gordon Mumma operate equipment to modify and determine the final sounds.</span><br /><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i341.photobucket.com/albums/o364/mediaburn3/vlcsnap-3961914.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i341.photobucket.com/albums/o364/mediaburn3/vlcsnap-3961914.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i341.photobucket.com/albums/o364/mediaburn3/vlcsnap-3963924.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i341.photobucket.com/albums/o364/mediaburn3/vlcsnap-3963924.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i341.photobucket.com/albums/o364/mediaburn3/vlcsnap-3963726.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i341.photobucket.com/albums/o364/mediaburn3/vlcsnap-3963726.png" alt="" border="0" /></a></span> <span style="font-size:100%;"><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i341.photobucket.com/albums/o364/mediaburn3/vlcsnap-3964006.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i341.photobucket.com/albums/o364/mediaburn3/vlcsnap-3964006.png" alt="" border="0" /></a></span> <span style="font-size:100%;"><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i341.photobucket.com/albums/o364/mediaburn3/vlcsnap-3964249.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i341.photobucket.com/albums/o364/mediaburn3/vlcsnap-3964249.png" alt="" border="0" /></a></span> <span style="font-size:100%;"><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i341.photobucket.com/albums/o364/mediaburn3/vlcsnap-3964337.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i341.photobucket.com/albums/o364/mediaburn3/vlcsnap-3964337.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i341.photobucket.com/albums/o364/mediaburn3/vlcsnap-3964394.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i341.photobucket.com/albums/o364/mediaburn3/vlcsnap-3964394.png" alt="" border="0" /></a></span> <span style="font-size:100%;"><span style="font-family: georgia;">Available at Karagarga.</span><br /><br /><span style="font-family: georgia;">Ps. check out </span><a style="font-family: georgia;" href="http://sirbedivere.wordpress.com/">sbmp3b</a><span style="font-family: georgia;"> if you want to check out a lot of Mark Leckey music projects.</span><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-15990492884837693292008-07-13T15:13:00.004+02:002008-07-18T22:12:24.702+02:00Robert Smithson - Hotel Palenque (1969-72) & Neville Wakefield - Yucatan Is Elsewhere, On Robert Smithson's HOTEL PALENQUE<a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp3.blogger.com/_JJdMNyyizNc/SHoA-Df3bqI/AAAAAAAAAEQ/J0AqxrS54OI/s1600-h/robert0001.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://bp3.blogger.com/_JJdMNyyizNc/SHoA-Df3bqI/AAAAAAAAAEQ/J0AqxrS54OI/s400/robert0001.jpg" alt="" id="BLOGGER_PHOTO_ID_5222487783980363426" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp0.blogger.com/_JJdMNyyizNc/SHoA-jy-UFI/AAAAAAAAAEY/FLWCZ_irg-o/s1600-h/robert0005.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://bp0.blogger.com/_JJdMNyyizNc/SHoA-jy-UFI/AAAAAAAAAEY/FLWCZ_irg-o/s400/robert0005.jpg" alt="" id="BLOGGER_PHOTO_ID_5222487792650440786" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://bp1.blogger.com/_JJdMNyyizNc/SHoA-wAeiOI/AAAAAAAAAEg/7aX9rS7M4Jw/s1600-h/robert0016.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer;" src="http://bp1.blogger.com/_JJdMNyyizNc/SHoA-wAeiOI/AAAAAAAAAEg/7aX9rS7M4Jw/s400/robert0016.jpg" alt="" id="BLOGGER_PHOTO_ID_5222487795928303842" border="0" /></a><br /><span style="font-family:georgia;">Robert Smithson's <a href="http://ubu.com/film/smithson_hotel.html">1969 lecture</a> published in Parkettart alongside an essay by Neville Wakefield. Download it via mediafire right </span><a style="font-family: georgia;" href="http://www.mediafire.com/?hymdlyjynjy">here</a><span style="font-family:georgia;"> or at <a href="http://ubu.artmob.ca/text/Smithson-Robert_HotelPalenque_1969TO1972ANDWakefield-Neville_YucatanIsElsewhereOnRobertSmithson%27sHOTELPALENQUE_1995.pdf">UbuWeb</a>.<br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-88914941139600504132008-07-07T00:24:00.000+02:002008-07-07T00:25:40.881+02:00Christian Marclay - Guitar Drag (2000)<span style="font-size:100%;"><span style="font-family: georgia;">The 14-minute video Guitar Drag, 2000, shows an amplified Fender guitar attached to a rope being pulled behind a pick-up truck. As the guitar drags across back roads and dirt trails, it produces a range of cacophonous musical sounds that often correlate to what is seen. Guitar Drag explores the collected mythologies of the guitar, the rural South and the truck, and Marclay evokes such disparate associations as rock-and-roll guitar smashing and the history of lynching in the South.</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img379.imageshack.us/img379/1872/vlcsnap7086688xr0.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img379.imageshack.us/img379/1872/vlcsnap7086688xr0.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img368.imageshack.us/img368/9595/vlcsnap7086925gj8.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img368.imageshack.us/img368/9595/vlcsnap7086925gj8.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img368.imageshack.us/img368/7052/vlcsnap7087311gn1.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img368.imageshack.us/img368/7052/vlcsnap7087311gn1.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img368.imageshack.us/img368/8976/vlcsnap7087119jt7.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img368.imageshack.us/img368/8976/vlcsnap7087119jt7.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img293.imageshack.us/img293/849/vlcsnap7087489us0.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img293.imageshack.us/img293/849/vlcsnap7087489us0.png" alt="" border="0" /></a><br /><span style="font-family: georgia;">Available at KaraGarga.</span><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-53314219354229146632008-07-04T03:25:00.001+02:002008-07-04T03:27:37.178+02:00Leosh Janachek - On the Way to the House of the Dead (1930)<span style="font-size:100%;"><span style="font-family: georgia;">Not to be confused with the truly awful "House of the Dead," this is an OPERA by the Moravian (Czech) composer Leos Janacheck based on the short story by Fyodor Dostoyevsky and conducted by the brilliant Pierre Boulez using the Schoenberg choir.</span><br /><br /><span style="font-family: georgia;">Why do I go into the dark, frozen cells of criminals with the poet of Crime and Punishment? Into the minds of criminals and there I find a spark of God. You will not wipe away the crimes from their brow, but equally you will not extinguish the spark of God. Into what depths it leads - how much truth there is in his work!</span><br /><br /><span style="font-family: georgia;">See how the old man slides down from the oven, shuffles to the corpse, makes the sign of the cross over it, and with a rusty voice sobs the words: 'A mother gave birth even to him!'</span><br /><br /><span style="font-family: georgia;">Those are the bright places in the house of the dead.</span><br /><br /><span style="font-family: georgia;">From the House of the Dead (Z Mrtvého Domu in Czech) is an opera by Leoš Janáček, in three acts. The libretto was translated and adapted by the composer from the novel by Dostoyevsky. It was the composer's last opera, premiered on 12 April 1930 in Brno, two years after his death.</span><br /><br /><span style="font-family: georgia;">Janáček worked on this opera knowing that it would be his last, and for it he broke away from the habit he had developed of creating characters modeled on his love interest Kamila Stösslová (although the themes of loneliness and isolation can clearly be seen as a response to her indifference to his feelings). There are, in fact, almost no female characters, and the setting, a Siberian prison, offers up a large ensemble cast instead of one or several prominent leads. There is no narrative to the piece as a whole, but individual characters narrate episodes in their lives, and there is a "play-within-a-play" in Act 2.</span><br /><br /><span style="font-family: georgia;">From the House of the Dead was virtually finished when Janáček died. Two of his students, believing the orchestration was incomplete, "filled out" large portions of the score, as well as adapting the ending to be more optimistic in tone. In addition to the work of Bretislav Bakala, Ota Zitek made changes to the text and sequence of events in the opera.[1] Decades later, a version closer to the composer's intentions superseded that version, and is most often heard today. Some productions, however, still use the ending adapted earlier, as it lessens the bleakness of the story.</span><br /><br /><span style="font-family: georgia;">The vast orchestra for which this opera is written includes chains (as a percussion instrument), to evoke the sound of the dead.</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-4601878.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-4601878.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-4602000.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-4602000.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-4602624.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-4602624.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-4602335.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-4602335.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-4602934.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-4602934.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-4603127.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-4603127.png" alt="" border="0" /></a></span> <span style="font-size:100%;"><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-4603312.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-4603312.png" alt="" border="0" /></a></span> <span style="font-size:100%;"><br /><span style="font-family: georgia;">This is the Deutsche Grammaphone dvd recording, with both 5.1 dolby and normal stereo sound, as well as all the menu extras including five short making of features. The 7.5gb dvd here compressed to 4.3 for burning.</span><br /><br /><span style="font-family: georgia;">Chéreau rehearsing Skuratov's narration</span><br /><span style="font-family: georgia;">Chéreau and Boulez on Dostoyevsky's text</span><br /><span style="font-family: georgia;">Thieu Niang working on the two pantomimes</span><br /><span style="font-family: georgia;">Boulez and Chéreau on the position of the chorus in Act III</span><br /><span style="font-family: georgia;">Boulez rehearsing the Mahler Chamber Orchestra<br /><br />Available at KaraGarga.<br /></span></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-61014984043821176822008-07-03T19:42:00.001+02:002008-07-03T19:44:58.679+02:00Dominique Gonzalez-Foerster - Parc Central (2006)<span style="font-size:100%;"><span style="font-family: georgia;">A collection of 11 short poetic psycho-geographic portraits of cities and spaces from artist </span><b style="font-family: georgia;">Dominique Gonzelez-Foerster</b><span style="font-family: georgia;">, who's cinematic 2007 solo show at Musée dArt moderne de la Ville de Paris </span><a style="font-family: georgia;" href="http://anonym.to/?http://www.e-flux.com/shows/view/4008">http://www.e-flux.com/shows/view/4008</a><span style="font-family: georgia;"> will be supplemented in 2008 by the </span><a style="font-family: georgia;" href="http://anonym.to/?http://www.tate.org.uk/about/pressoffice/pressreleases/2008/14839.htm">Unilever commission</a><span style="font-family: georgia;"> for the Turbine Hall of London's Tate Modern (joining Carsten Holler's slides, Olafur Eliason's sun, and Doris Salcedo's crack amongst many other prestigious past projects).</span><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i203.photobucket.com/albums/aa72/jstnj/Picture3.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i203.photobucket.com/albums/aa72/jstnj/Picture3.png" alt="" border="0" /></a><br /><br /><span style="font-family: georgia;">Ranging from the revisiting of a scene of Ming-Liang Tsai's </span><a style="font-family: georgia;" href="http://anonym.to/?http://www.imdb.com/title/tt0109066/">'Vive l'Amour'</a><span style="font-family: georgia;"> through the eyes of its protagonist, to a ticker-tape parade in Buenos Aires, from a reflection on the filmic qualities of Brasilia,to an observation of the observers of the 1999 eclipse in Paris. All soundtracked by a sensitive balance of field-recordings and carefully chosen delicate music.</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i203.photobucket.com/albums/aa72/jstnj/Picture8.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i203.photobucket.com/albums/aa72/jstnj/Picture8.png" alt="" border="0" /></a><br /><br /><span style="font-family: georgia;">A review of the work Riyo, included on DVD </span><a style="font-family: georgia;" href="http://anonym.to/?http://www.bard.edu/ccs/exhibitions/museum/sodiumdreams/artists/gonzalez/">here</a><span style="font-family: georgia;">.</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i203.photobucket.com/albums/aa72/jstnj/Picture2.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i203.photobucket.com/albums/aa72/jstnj/Picture2.png" alt="" border="0" /></a><br /><span style="font-family: georgia;">This collection of films from cities across the globe provides further evidence of Gonzalez-Foerster's unmistakable sense of urban ambience and tropical melancholia. In a conversation between the artist and Jacques Ranciere published in Art Press, the philosopher, reflecting on the dialogue between East and West in her work, observes, "What is interesting is what they over there have done with what they borrowed from us here. You don't get that here, maybe because we have the idea that there are no more journeys left." That may be the case, but after seeing Gonzalez-Foerster's films I want to go places: Rio de Janeiro, Brasilia, Taipei, and of course Japan, though I'm not sure if her Japan really exists or whether it's a semiotic fantasy after Roland Barthes.</span><br /><span style="font-family: georgia;">- Daniel Birnbaum, Artforum, 2006</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i203.photobucket.com/albums/aa72/jstnj/Picture1.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i203.photobucket.com/albums/aa72/jstnj/Picture1.png" alt="" border="0" /></a><br /><span style="font-family: georgia;">"Parc Central" est composé de 11 films qui offrent un voyage visuel, sonore et poétique à travers 11 villes traversées par l'artiste. Fascinée par la ville, l'espace et l'urbanisme, Dominique Gonzalez-Foerster développe depuis plusieurs années le concept de "modernité tropicale", à partir de la cohabitation et de la confrontation entre architecture et végétation. C'est autour de cette recherche qu'elle a conçue "Parc Central"</span><br /><span style="font-family: georgia;">- MK2 DVD description</span><br /><br /><span style="font-family: georgia;">Available at KaraGarga.</span><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-63745611499709842482008-07-01T11:12:00.001+02:002008-07-01T11:14:02.937+02:00Ken Jacobs - Window (1964)<span style="font-size:100%;"><span style="font-family: georgia;">Window (1964) 16mm, color, silent</span><br /><br /><span style="font-family: georgia;">The moving camera shapes the screen image with great purposefulness, using the frame of a window as fulcrum upon which to wheel about the exterior scene. The zoom lens rips, pulling depth planes apart and slapping them together, contracting and expanding in concurrence with camera movements to impart a terrific apparent-motion to the complex of the object-forms pictured on the horizontal-vertical screen, its axis steadied by the audience's sense of gravity. The camera's movements in being transferred to objects tend also to be greatly magnified (instead of the camera the adjacent building turns). About four years of studying the window-complex preceded the afternoon of actual shooting (a true instance of cinematic action-painting). The film exists as it came out of the camera barring one mechanically necessary mid-reel splice. --K. J.</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-1842192.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-1842192.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-1842271.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-1842271.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-1842440.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-1842440.png" alt="" border="0" /></a><br /><span style="font-family: georgia;">Ken Jacobs was born May 25th, 1933 in Williamsburg, Brooklyn. His family background was that of a broken home, with a father who didn't care about him, and a mother who passed away when he was seven. His childhood life could be characterized, as he would call it, " Disastrous but typical, bequeathing me a social disgust and anger that I have cultivated, refined, monumentalized, and I am gagging on." His grim childhood had taught him to be a stronger person on the outside.</span><br /><br /><span style="font-family: georgia;">Aside from his early childhood difficulties, at the age of sixteen he had the opportunity to go to the Museum of Modern Art. There, he took a keen interest in various filmmakers, which then inspired him to write some of his own movie scripts. Also, he developed a love for art and painting. He attended the high school of Industrial Arts and often visited the film screenings at the Museum of Modern Art in New York.</span><br /><br /><span style="font-family: georgia;">He served at the US Coast Guard. In 1955 he continued to study painting in New York, and in 1956 he studied with Hans Hoffmann.</span><br /><br /><span style="font-family: georgia;">Also in 1956 he befriended the filmmaker Jack Smith and began to work on his first films and first attempts in Silhouette Theater. In 1956, Jacobs put together a film called Orchard Street. Over the next couple of years, with the help of fellow filmmaker and classmate Jack Smith, his work was finally acknowledged. Smith, being a hopeful actor, starred in Jacob's film Blonde Cobra as well as a few other films.</span><br /><br /><span style="font-family: georgia;">He founded the Millennium Film Workshop in New York. He then taught film studies at St. Johns University. In 1969 he founded the film department at the State University of New York in Binghamton together with Larry Gottheim. From 1971 to the present he has been professor of film in Binghamton. In 1986 he was a guest of the DAAD (Berlin Artist's Program). In 1996 his work was shown in a comprehensive film retrospective in the Museum of Modern Art in New York.</span><br /><br /><span style="font-family: georgia;">Available at KaraGarga.</span><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-68963873719250298302008-07-01T11:08:00.004+02:002008-07-01T11:16:41.075+02:00Paul Sharits - Ray Gun Virus (1966)<span style="font-size:100%;"><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://www.paulsharits.com/images/index_paul.jpg"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 300px; height: 537px;" src="http://www.paulsharits.com/images/index_paul.jpg" alt="" border="0" /></a><br /><span style="font-family:georgia;">Ray Gun Virus (with sound!)</span><br /><span style="font-family:georgia;">1966</span><br /><span style="font-family:georgia;">According to artist, sound is to be turned to max volume.</span><br /><br /><br /><span style="font-family:georgia;">Although affirming projector, projection beam, screen, emulsion, film frame structure, etc., this is not an "abstract film"/projector as pistol/time-colored pills/yes=no/mental suicide and then, rebirth as self-projection. "... just colors and strobe ... 'light-color energy patterns (analogies of neural transmission systems) generate internal color-time shape and allow the viewer to become aware of the electrical-chemical functionings of his own nervous system' ... It's true." - David Curtis, International Times "RAY GUN VIRUS is a work in which no images appear yet one can get pure identity on film. ... projected film itself makes the viewer aware of where he stands. RAY GUN VIRUS is not so-called 'Psychedelic Cinema' but even more and goes beyond it through Sharits' bright clarification of the media." - Takahiko Iimura, Film Art Exhibition: Fourth Int'l Experimental Film Competition, Knokke-Le-Zoute; "Twenty Years of American Personal Film" anthology, National Museum of Modern Art, Tokyo, 1966. Collections: Museum of Modern Art, NY; Royal Archive of Belgium.</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-2141050.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-2141050.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-2141149.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-2141149.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-2141195.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-2141195.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-2141254.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i261.photobucket.com/albums/ii51/mediaburn/vlcsnap-2141254.png" alt="" border="0" /></a><span style="font-family:georgia;">Available at KaraGarga.</span><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-65954387614812749852008-06-30T22:30:00.002+02:002008-06-30T22:31:30.107+02:00Robert Frank - The Present (1996)<span style="font-size:100%;"><span style="font-family: georgia;">1996, 24 min.</span><br /><span style="font-family: georgia;">Simple objects, photographs, and events prompt Frank to self-conscious rumination. From his homes in New York and Nova Scotia and on visits to friends, the artist contemplates his relationships, the anniversary of his daughter's death, his son's mental illness, and his work.</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-1801446.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-1801446.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-1801179.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-1801179.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-1800246.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-1800246.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-1800607.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://i171.photobucket.com/albums/u293/videoartcollector/vlcsnap-1800607.png" alt="" border="0" /></a><span style="font-family: georgia;">Available at KaraGarga.</span><br /><br /><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-18871185771911714452008-06-26T20:51:00.001+02:002008-06-26T20:52:44.927+02:00Nancy Holt & Robert Smithson - Swamp (1971)<span style="font-size:100%;"><span style="font-family: georgia;">Nancy Holt and Robert Smithson collaborated on this seminal film, which viscerally confronts issues of perception and process. The action of the film is direct: Holt walks through the tall grasses of a swamp while filming with her Bolex camera, guided only by what she can see through the camera lens and by Smithson's verbal instructions. The viewer experiences the walk from Holt's point of view, seeing through her camera lens and hearing Smithson's spoken directions. Vision is obstructed and perception distorted as they stumble through the swamp grasses. Holt has stated that Swamp "...deals with limitations of perception through the camera eye as Bob and I struggled through a muddy New Jersey swamp. Verbal direction cannot easily be followed. As the reeds crash against the camera lens blocking vision and forming continuously shifting patterns, confusion ensues." - eai.org</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img166.imageshack.us/img166/6/swampld7.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img166.imageshack.us/img166/6/swampld7.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img166.imageshack.us/img166/3063/swamp2ab7.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img166.imageshack.us/img166/3063/swamp2ab7.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img266.imageshack.us/img266/5349/swamp5bi2.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img266.imageshack.us/img266/5349/swamp5bi2.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img266.imageshack.us/img266/605/swamp3hv8.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img266.imageshack.us/img266/605/swamp3hv8.png" alt="" border="0" /></a><br /><span style="font-family: georgia;">Available at KaraGarga.</span><br /></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-5428008308952272738.post-33419919701676516312008-06-23T13:30:00.003+02:002008-06-23T13:32:19.735+02:00Nancy Holt & Robert Smithson - Mono Lake (1968 - 2004)<span style="font-size:100%;"><span style="font-family: georgia;">1968-2004, 19:54 min, color, sound</span><br /><span style="font-family: georgia;">Featuring Super 8 film footage and Instamatic slide images of artists Robert Smithson, Michael Heizer and Nancy Holt as they visited California's Mono Lake in July of 1968, this piece was edited by Holt in 2004. Mono Lake candidly captures the young artists as they explore the haunting landscape of one of the oldest and most distinctive lakes in North America. Heizer and Smithson are heard reading facts about the unique ecology, geology and natural phenomena of this alkaline lake. The voiceovers are set against filmed images and snapshots of the artists within the uncanny beauty of the lake's environment. Smithson is shown collecting cinders from the volcanic hills on the lake's shores, which were used to make his 1968 sculpture "Mono Lake Nonsite."</span><br /><span style="font-family: georgia;">Mono Lake is a document of a unique natural environment, a "home movie" of the artists' 1968 road trip, and an intimate view of three seminal figures in the earth art movement as they interact with the Western landscapes that are so central to their work.</span><br /><span style="font-family: georgia;">The following text, which appears on-screen, provides further background on the recording and editing of the piece: "Mono Lake was shot in 1968 on Super 8 film and Instamatic slides, which were later transferred to video. Smithson selected the readings and the music by Michel Legrand for the early, unedited soundtrack, which was recorded close to the time of the filming. The two country and western songs were sung by Waylon Jennings at a performance in Las Vegas attended by Heizer, Holt and Smithson in the week before the trip to Mono Lake, California... Holt and Smithson originally planned to edit Mono Lake together. The project was subsequently put aside until 2004, when it was edited by Holt for the Robert Smithson Retrospective at the Museum of Contemporary Art in Los Angeles."</span><br /><span style="font-family: georgia;">Robert Smithson, with Michael Heizer and Nancy Holt, caught on film July 27, 1968. Camera: Michael Heizer, Nancy Holt, Robert Smithson. Soundtrack Readings: Michael Heizer, Robert Smithson. Producer/Editor: Nancy Holt. Music by Michel Legrand from the soundtrack of the film "Bay of Angels" by Jacques Demy, Cine-Tamaris, 1963. Songs by Waylon Jennings: "Walk on Out of My Mind," (RCA Victor, 1967); "Stop the World (and Let Me Off)," (RCA Victor, 1965). Readings from the booklet "Rock Hounding Out of Bishop" written by Cora B. Houghtaling, Chalfont Press, Bishop, CA, 1967. A Holt/Smithson Video. (quote from eai.org)</span><br /><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img508.imageshack.us/img508/2042/monolake1fi2.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img508.imageshack.us/img508/2042/monolake1fi2.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img502.imageshack.us/img502/4222/monolake2oe8.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img502.imageshack.us/img502/4222/monolake2oe8.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img299.imageshack.us/img299/6669/monolake4ti9.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img299.imageshack.us/img299/6669/monolake4ti9.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img299.imageshack.us/img299/3792/monolake3ei1.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img299.imageshack.us/img299/3792/monolake3ei1.png" alt="" border="0" /></a><br /><a style="font-family: georgia;" onblur="try {parent.deselectBloggerImageGracefully();} catch(e) {}" href="http://img299.imageshack.us/img299/809/monolake6sb9.png"><img style="margin: 0px auto 10px; display: block; text-align: center; cursor: pointer; width: 400px;" src="http://img299.imageshack.us/img299/809/monolake6sb9.png" alt="" border="0" /></a><br /><span style="font-family: georgia;">Available at KaraGarga.</span><br /></span>Unknownnoreply@blogger.com