Blog posts tagged with: City and urban

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 Jan 5, 2014
By
Laura Preston
Still from The Net (2012-ongoing) Andrew de Freitas

Immediately you are drawn in by the mood of Andrew de Freitas’ films. It’s in the air so to speak; constructed through a musical score that compounds an orchestration of images sculpturally composed frame after frame. Taking from the vicissitudes of the everyday—incrementally shedding light on the complex relations of nature and culture—de Freitas’ films align with that old platitude that to get closer to reality, treat language as construction. Further, the mood his films project is by means of affiliating form with feeling.

Posted Jan 5, 2014
By
Laura Preston
Still from The Net (2012-ongoing) Andrew de Freitas

Immediately you are drawn in by the mood of Andrew de Freitas’ films. It’s in the air so to speak; constructed through a musical score that compounds an orchestration of images sculpturally composed frame after frame. Taking from the vicissitudes of the everyday—incrementally shedding light on the complex relations of nature and culture—de Freitas’ films align with that old platitude that to get closer to reality, treat language as construction. Further, the mood his films project is by means of affiliating form with feeling.

Posted Nov 27, 2013
By
Aaron Lister
Still from Wonderland (2013) Halil Altindere

Moving image, lots of moving image, is often considered the scourge of biennales. I prefer to see the siren song of video less as an incredible drain on time-hungry, foot-weary visits, more as offering the opportunity to get sucked into and immersed within a work, a projection, a screen, halting that inevitable glide by or quickly once over that other media often seems to fall victim to.

Posted Nov 27, 2013
By
Aaron Lister
Still from Wonderland (2013) Halil Altindere

Moving image, lots of moving image, is often considered the scourge of biennales. I prefer to see the siren song of video less as an incredible drain on time-hungry, foot-weary visits, more as offering the opportunity to get sucked into and immersed within a work, a projection, a screen, halting that inevitable glide by or quickly once over that other media often seems to fall victim to.

Posted Nov 27, 2013
By
Aaron Lister
Still from Wonderland (2013) Halil Altindere

Moving image, lots of moving image, is often considered the scourge of biennales. I prefer to see the siren song of video less as an incredible drain on time-hungry, foot-weary visits, more as offering the opportunity to get sucked into and immersed within a work, a projection, a screen, halting that inevitable glide by or quickly once over that other media often seems to fall victim to.

Posted Oct 16, 2013
By
Mark Williams
Still from The detectives, 2013, video, 4’ 46’’ Actors: Andy Baker, Caspar Connolly, Mark O’Donnell, Daphne Simons, Sorawit Songsataya, Tim Wagg. Photograph courtesy of the artist and ArtspaceStill from The detectives, 2013, video, 4’ 46’’ Actors: Andy Baker, Caspar Connolly, Mark O’Donnell, Daphne Simons, Sorawit Songsataya, Tim Wagg. Photograph courtesy of the artist and Artspace

I’m no expert on the genre of film noir. But I suspect it’s something most people have a basic awareness of, even if slightly misguided or clichéd, just like many people assume anything from the early-mid 20th century can be described as art deco. I’m probably working from stereotypical assumptions of noir too: self-generated (dim) lighting, long shadows, venetian blinds, deception and double-crosses, probably a detective story narrated in the first person by a gruff voice with an attitude about his ex-wife.

Pages