Archive for the ‘Film’ Category

Sundance At a Glance

Friday, January 20th, 2012
Detropia, DIRECTOR Heidi Ewing, Rachel Grady U.S.A., 2011, 90 min, color

Detropia, DIRECTOR Heidi Ewing, Rachel Grady U.S.A., 2011, 90 min, color

From the scores of films shown at this year’s Sundance Film Festival (January 19-29, 2012 in Park City, Utah), only a few end up getting wider distribution; the rest recede into obscurity in Indie film houses. A few of the interesting art films worth looking out for are singled out here:

Directed by New York-based documentary filmmakers Heidi Ewing and Rachel Grady, Detropia – describes Detroit’s boom and bust history; the hemorrhaging decay and eventual collapse of its auto industry. “With its vivid, painterly palette and haunting score, DETROPIA sculpts a dreamlike collage of a grand city teetering on the brink of dissolution.” The film documents buildings being demolished as Detroit’s economic prospects fade, wages plummet and tourists ogle at the “charming decay.”

THE CLOUD OF UNKNOWING, DIRECTOR Ho Tzu Nyen Singapore, 30 min, color

THE CLOUD OF UNKNOWING, DIRECTOR Ho Tzu Nyen Singapore, 30 min, color

Ho Tzu Nyen’s, The Cloud of Unknowing is an art installation and film, originally shown at the 54th Venice Biennale as part of the Singapore pavillion. The video and sound installation examines clouds as symbolizing transience and emptiness. “On a screen, a narrative unfolds, set in a public housing complex in Singapore, where eight characters in eight apartments individually encounter a cloud, embodied both as a figure and a vaporous mist.”

Excision, DIRECTOR Richard Bates Jr. SCREENWRITER Richard Bates Jr. U.S.A., 2011, 81 min, color

Excision, DIRECTOR Richard Bates Jr. SCREENWRITER Richard Bates Jr. U.S.A., 2011, 81 min, color


Directed by Richard Bates Jr. Excision blends elements of horror, teen comedy, and cult classics with great performances by Traci Lords and John Waters. Pauline the main character has a penchant for picking scabs, dissecting road kill, and fantasizing about performing surgery on strangers…
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Making Celestial Waves: Artist Mariko Mori

Saturday, January 14th, 2012

By Kiša Lala

Artist Mariko Mori’s Journey to Seven Light Bay is a digital project that transports visitors to Miyako Island in Okinawa, Japan, where Mori has installed the first part of her monumental earthwork ‘Primal Rhythm’. The installation consists of a sun pillar and the egg-shaped ‘Tida Dome’ that changes colour with tidal movements.

Inspired by the caves of Okinawa in Japan, the digitally rendered ‘Tida Dome’ is a hollow shell through which light enters as it floats in the bay, shifting colour from red at low tide to blue at high tide, with many gradations in between. Mori has chosen exact coordinates such that at the moment of winter solstice, the lengthening shadow of the ‘sun pillar’ will penetrate the actual moonstone, once it is physically installed in the bay, uniting the celestial with the terrestrial, the masculine with the feminine.

Sun Pillar Miyako Island in Okinawa, Japan © Mariko Mori

Sun Pillar Miyako Island in Okinawa, Japan © Mariko Mori

Mariko Mori - Tida Dome, Courtesy of Adobe Museum of Digital Media

Mariko Mori - Tida Dome, Courtesy of Adobe Museum of Digital Media

Read more on Mariko Mori

Ape and Super-Ape: A Chat with Walton Ford

Monday, December 19th, 2011

By Kiša Lala

Walton Ford photographed by Bobby Fisher © Bobby Fisher, 2011

Walton Ford photographed by Bobby Fisher © Bobby Fisher, 2011 -- Arabian proverb from beginning of King Kong: 'And the Prophet said, ‘And lo, the beast looked upon the face of beauty. And it stayed its hand from killing. And from that day, it was as one dead.'

A witty narrative of thwarted simian desire is the theme of Walton Ford’s new series of watercolor paintings at Paul Kasmin Gallery. Ford’s obsession with King Kong, the super-sized movie monster came from his childhood viewings of the 1933 cinematic tale of abduction depicting the clash of the beastly brute Kong and delicate, blonde sophisticate, famously played by Faye Wray.

The story is less Beauty and the Beast, more unrequited love akin to Nabokov’s Lolita in which Kong, the faux monster gorilla, is trapped by unnatural desire and vanity towards an act unacceptable to consummate.

In his other series, displayed like a comic strip narrative on the gallery walls, Ford returns to his earlier Audubon inspired style, depicting a scenario described in the naturalist’s journals about his pet parrot.  I chatted to Ford about his new work and flipped through his past drawings in my old copy of Pancha Tantra, a collection inspired by the ancient Sanskrit book of animal fables, possibly the oldest on the planet.

Walton Ford wearing one of his collection of gorilla masks, photographed by Bobby Fisher for Spread © Bobby Fisher, 2011

Walton Ford wearing one of his collection of gorilla masks, photographed by Bobby Fisher for Spread © Bobby Fisher, 2011

I asked Ford about his inspiration behind the story of the dead parrot and masturbating monkey, and Ford explained that Audubon’s father was a ship’s Captain: “He used to bring exotic animals home to France,” recounted Ford, “Audubon himself was born out of wedlock: the Captain had a mistress in Haiti, and after Audubon was born from this mistress, the Captain brought the young boy home to his wife in France who raised Audubon.”

Read more of the interview with Walton Ford

The Image Maker

Saturday, December 17th, 2011
Tom Sachs, Leica M6, © Tom Sachs

Tom Sachs, Leica M6, © Tom Sachs

Tom Sachs has an extensive series of cameras that he sometimes re-constructs from machine parts of other devices, rebranding them to explore their value in relation to consumer desire – ‘Like a Leica,’ was one such artwork from his inventory of image makers. His first was a clay replica of a Nikon SLR camera he made for his father when he was eight years old.

Tom Sachs, Untitled (CE Wood Leica) © Tom Sachs

Tom Sachs, Untitled (CE Wood Leica) © Tom Sachs

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Ken Russell’s Altered States

Tuesday, December 6th, 2011
Vanessa Redgrave in The Devils, by Ken Russell, 1971 - Picture: WARNER BROS

Vanessa Redgrave in The Devils, by Ken Russell, 1971 - Picture: WARNER BROS

Screen junkies looking for cult classics will find many gems in English filmmaker Ken Russell’s repertoire. The director who died last week at the age of 84 was famous for such films as Women in Love, with Glenda Jackson, and the adaptation of the Who’s Tommy, and the 1980 psychedelic sci-fi, Altered States, which showed experiments with Ayahuasca, magic mushrooms (Amanita Muscaria) and sensory deprivation chambers.

One of his best was a film based on Aldous Huxley’s book The Devils of Loudun, a story from the 17th century of mass, contagious sexual, psycho-somatic possession of nuns at a French convent, and the self inflicted paralysis of the investigating inquisitor sent out to investigate the nunnery. The film, starring Venessa Redgrave, was based on a story researched by Huxley of a real case of demonic possession that was a survey of the witchcraft, hysteria and ritual exorcisms commonly practiced in the middle ages – and which were in effect, a description of the political arm of the Roman-Catholic church.

Ken Russell in 1987 Picture: Rex Features

Ken Russell in 1987 Picture: Rex Features


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A Mudbath with Marilyn Minter

Tuesday, November 29th, 2011

By Kiša Lala

Marilyn Minter, Cheshire (Wangechi) - 2011

Marilyn Minter, Cheshire (Wangechi) - 2011 enamel on metal - 60 x 96 inches (152.4 x 243.8 cm) , Courtesy of Salon 94 gallery


Sublime soapy bubbles of goo slide down baby, frolicking in a playpen of silver slime. The slow-motion video, shot with a Fantom, plays at Salon 94’s exhibition of Marilyn Minter’s latest works, coming at the ‘heels’ of her last series of slippery stilettos and video project Green Pink Caviar. The baby’s atavistic slide into pleasure is impulsive and contagious, and implicates our adult world of sophistication and restraint.

In Cheshire Minter does an extreme close-up of grinning teeth that would delight any dentist with a desire for detail. I asked Minter about her use of close-ups, which left no narrative clues as to gender, and she said she liked the implied mystery and the multi-readings this made possible.

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Violent Comedies: David Lynch Paintings

Friday, November 25th, 2011
David Lynch, Rain

David Lynch, Rain

Director David Lynch was a painter before becoming more well-known for his films Eraserhead, Elephant Man and Blue Velvet, and yet Lynch sometimes referred to his earlier films as attempts to ‘make his paintings move’.

“When it comes to painting, it´s the darker things I find really beautiful. All my paintings are organic, violent comedies. They have to be violently done, and primitive and crude, and to achieve that I try to let nature paint more than I paint, and stay out of the way as much as I can. In fact, I don’t paint with a brush too much any more – I prefer to use my fingers. I’d bite them if I could,” Lynch stated in his catalogue for an exhibition in Tokyo Museum of Contemporary Art.

“I never end up with what I set out to do. Whether it’s a film or a painting, I always start with a script, but I don’t ever follow it all the way through to the end….One of the reasons I prefer painting in black and white, or almost in black and white, is that if you have some shadow or darkness in the frame, then your mind can travel in there and dream.”

Here I Am - Me As a House by David Lynch - Galerie Karl Pfefferle.

Here I Am - Me As a House by David Lynch - Galerie Karl Pfefferle.

More David Lynch Paintings

The Art of Being Looked At: A Conversation with Charlotte Rampling

Tuesday, November 8th, 2011

By Kiša Lala

Charlotte Rampling: photograph for SPREAD by Kareem Black, 2011

Charlotte Rampling: photograph for SPREAD by Kareem Black, 2011

“Being ready at 9am in any country…” sighed Charlotte Rampling, smartly turned out in a black suit after a late night of revelry in the West Village. ‘The Look,’ had just premiered the night before in New York and Gabriel Byrne had popped out to greet her after the show. Byrne recalled how he’d sweated over how to impress her while on a first stroll through Central Park together, and seeing a night guardsman walk past, had quipped, “Ah, Night Porter!” Rampling had ignored his remark and had kept walking.

Later Byrne had asked, but wasn’t that funny?

“You don’t know how many fucking times people have said that to me,” Rampling had replied.

Paul Auster and Charlotte Rampling in a scene from Angelina Maccarone's documentary CHARLOTTE RAMPLING: THE LOOK

Paul Auster and Charlotte Rampling in a scene from Angelina Maccarone's documentary CHARLOTTE RAMPLING: THE LOOK. Credit: Kino Lorber/Les films d'ici


Charlotte Rampling’s films do not flash across neon-lit marquees in middle America, but her carefully culled oeuvre (“Sort of my artistic choice…a way of living, of evolving for me,” she tells me) has garnered a cult of swooning devotees who admire her courage in picking unconventional roles spanning four decades of cinema.

More prolific than ever, she has recently starred in Lemming, Swimming Pool, Heading South, playing conflicted, reclusive roles or evil, camp cameos, like in the sci fi flick Babylon A.D. She has also appeared in a Marc Jacobs fashion shoot, in an extended love fest with photographer Juergen Teller who played nude antics over a piano and gleefully peed into a flowerpot while Rampling, curled in bed, indulgently looked on. All the excavation and over-blown analysis into her enigma seems redundant when she is, more evidently, an artist committed to questing in life. While “The Look” is a bio-pic, featuring conversations with friends, it is tamer and less confrontational than past roles that explore darker aspects of her nature, revealing instead, a more contented side.

Charlotte Rampling photographed by Kareem Black, 2011

Charlotte Rampling photographed by Kareem Black, 2011 © Kareem Black

We share a couch near a lovely blazing fireplace at a lounge in Soho. I tell her that I wished she’d included a conversation with a younger woman, beautiful and successful as she had been when young, to create a tenser dynamic. Rampling fixes me with her hooded leopard gaze, “Hmm. I didn’t think of it…but it could have been good.” It was a bit early to talk about love, aging and mortality at breakfast, but I struggled to get past the platitudes.

KL: What about a crossover artist like Tilda Swinton?

CR: I don’t know her, though I’ve met her once. She’s certainly someone I would identify with; we are on the same sort of path. I feel in some ways she’s stronger than me, able to take on certain things I can’t take on.

KL: When you’re born beautiful you aren’t expected to do much more in life…

CR: It’s already enormous. What beauty brings is huge. It brings great privilege, great power and potential to do many things. If you are beautiful, doors open for you; people smile at you; you are accepted in places where others aren’t. So the relationship that people have with beauty, in a sense, is almost deforming.

Read more of the interview with Charlotte Rampling

Getting Creative in DUMBO: Music From Down Under Manhattan Bridge

Wednesday, October 19th, 2011

By Aaron Barr

Florence + the Machine at the Archway in Brooklyn / Photo by Bryan Derballa

The Creators Project, the unlikely partnership between Intel and Vice, made a quick stop in Brooklyn’s DUMBO neighborhood this weekend. Defining themselves as an ‘ongoing global arts and technology initiative to support artists, musicians and filmmakers who are using technology to push the bounds of creative expression,’ The Creators Project, seeks to elevate artists and support new work.

Crowd at Tobacco Warehouse / Photo by Bryan Derballa

Read more about the Creators Project in Brooklyn

Launching a Banquet of Festivities: 2011 Performa

Tuesday, October 18th, 2011
Ming Wong, Persona Performa - work-in-progress -  2011. Courtesy of the artist. Photo copyright Carlos Vasquez.

Ming Wong, Persona Performa - work-in-progress - 2011. Courtesy of the artist. Photo copyright Carlos Vasquez.

Performa will initiate its fourth international biennial on November 1 with a month long festival of performances through the city, with a premiere on opening night of live performances by the artists Elmgreen & Dragset.

The events calendar will be choc-a-bloc with films, live street performances, and theatrical events at art spaces through the city. Ming Wong will create a site-specific piece for the Museum of the Moving Image, inspired by Ingmar Bergman’s 1966 masterpiece Persona, and Spartacus Chetwynd’s Lion Tamer will be inspired in part by the Mae West film in which she tames the beasts on stage as well as ’society swells’ offstage.

Filmmaker Guy Maddin will create a live cinematic, musical event, based on his 1988 cult film, Tales from the Gimli Hospital: Reframed, which will be scored by an array of talented musicians including a superstar band of Icelandic composers. The original film, one of Maddin’s early cult successes, is a dreamlike tale of jealousy and intrigue between two men sharing a hospital room.

Guy Maddin, film still from Tales of the Gimli Hospital, 1988. Photo courtesy Guy Maddin. Performa 2011

Guy Maddin, film still from Tales of the Gimli Hospital, 1988. Photo courtesy Guy Maddin. Performa 2011

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