Blog posts tagged with: Documentary

Posted Feb 12, 2014
By
Tim Corballis
Still from War-Fi Cowboys (2010) Peter Wareing

There is a way, suggested by Hito Steyerl, to think about video art. As cinema enters the gallery, no audience can sit out its full duration—instead, it is exploded across multiple channels, so that the wandering viewer is asked to catch limited glimpses of all its parts simultaneously. No final understanding of the work is available, no narrative wound up in tidy conclusion.

Posted Feb 12, 2014
By
Tim Corballis
Still from War-Fi Cowboys (2010) Peter Wareing

There is a way, suggested by Hito Steyerl, to think about video art. As cinema enters the gallery, no audience can sit out its full duration—instead, it is exploded across multiple channels, so that the wandering viewer is asked to catch limited glimpses of all its parts simultaneously. No final understanding of the work is available, no narrative wound up in tidy conclusion.

Posted Feb 12, 2014
By
Tim Corballis
Still from War-Fi Cowboys (2010) Peter Wareing

There is a way, suggested by Hito Steyerl, to think about video art. As cinema enters the gallery, no audience can sit out its full duration—instead, it is exploded across multiple channels, so that the wandering viewer is asked to catch limited glimpses of all its parts simultaneously. No final understanding of the work is available, no narrative wound up in tidy conclusion.

Posted Feb 12, 2014
By
Tim Corballis
Still from War-Fi Cowboys (2010) Peter Wareing

There is a way, suggested by Hito Steyerl, to think about video art. As cinema enters the gallery, no audience can sit out its full duration—instead, it is exploded across multiple channels, so that the wandering viewer is asked to catch limited glimpses of all its parts simultaneously. No final understanding of the work is available, no narrative wound up in tidy conclusion.

Posted Aug 27, 2013
By
Mark Williams
Still from Outsider Trading (2013) a film by Martin Rumsby

Since the late 1970s Martin Rumsby has developed an extensive career as a film-maker, writer, exhibitor and distributor in New Zealand and North America. On Friday Aug 30 at 2.45pm, Rumsby presents A Couple of Things, an illustrated lecture that finds cinematic futures in decayed and decomposing cinemas and in the reinvention of discarded cinematic genres.

Posted Aug 27, 2013
By
Mark Williams
Still from Outsider Trading (2013) a film by Martin Rumsby

Since the late 1970s Martin Rumsby has developed an extensive career as a film-maker, writer, exhibitor and distributor in New Zealand and North America. On Friday Aug 30 at 2.45pm, Rumsby presents A Couple of Things, an illustrated lecture that finds cinematic futures in decayed and decomposing cinemas and in the reinvention of discarded cinematic genres.

Posted Aug 27, 2013
By
Mark Williams
Still from Outsider Trading (2013) a film by Martin Rumsby

Since the late 1970s Martin Rumsby has developed an extensive career as a film-maker, writer, exhibitor and distributor in New Zealand and North America. On Friday Aug 30 at 2.45pm, Rumsby presents A Couple of Things, an illustrated lecture that finds cinematic futures in decayed and decomposing cinemas and in the reinvention of discarded cinematic genres.

Posted Aug 27, 2013
By
Mark Williams
Still from Outsider Trading (2013) a film by Martin Rumsby

Since the late 1970s Martin Rumsby has developed an extensive career as a film-maker, writer, exhibitor and distributor in New Zealand and North America. On Friday Aug 30 at 2.45pm, Rumsby presents A Couple of Things, an illustrated lecture that finds cinematic futures in decayed and decomposing cinemas and in the reinvention of discarded cinematic genres.

Posted May 27, 2013
By
Thomasin Sleigh
Alex Monteith, Green Island Big Wave Surfing, 2013. Courtesy of the artist

The word ‘immersive’ has always been problematic for me. I think because in some instances it has been anaesthetised by art speak (and I am guilty of this as much as anyone). A video installation or a sculptural installation is often described as ‘immersive’ simply because it takes up a large space, or uses a variety of layered materials, or bright, confrontational colours, or loud sound, or fast-paced, flickering images.

Posted May 27, 2013
By
Thomasin Sleigh
Alex Monteith, Green Island Big Wave Surfing, 2013. Courtesy of the artist

The word ‘immersive’ has always been problematic for me. I think because in some instances it has been anaesthetised by art speak (and I am guilty of this as much as anyone). A video installation or a sculptural installation is often described as ‘immersive’ simply because it takes up a large space, or uses a variety of layered materials, or bright, confrontational colours, or loud sound, or fast-paced, flickering images.

Pages