There’s a great interview with one of my favorite artists Julien von Bismarck, the 26-year old Berlin-based artist/student in Olafur Eliasson’s Institute of Space Experiments. His media intervention project is The Image Fulgurator in which Bismarck uses an analog camera fitted with a projection/strobe system to throw images rather than capture them. Used in opportune
I’m not sure how I feel about Montreal. Ever since I started learning French I’ve associated the language with hostility and romantic impulses for sneering antagonism. The language of love and revolution. Or perhaps just indulgent protests and overpriced espresso. In all fairness, my narrow and decidedly cliche perspective is both the fault of
Part Three of our three-part analysis of the cinema of Portuguese director Pedro Costa.
South Korea resumed operations of psychological warfare against North Korea — effectively ending a six-year moratorium on propaganda — in response to the sinking of the Cheonan warship. The broadcast began yesterday evening at 6 p.m. on FM radio when a female anchor announced, what she called, the “voice of freedom”. What followed was
The Academy Award for Best Foreign Language Film last year was bestowed onto an Argentine mystery romance; a film that intermixes the pathos of unspoken love and the torture chamber of memory, and parallels these alongside the shadowy contours of law and corrupt politics. As the film frames all these disparate elements within
Part Two of our three-part analysis of the cinema of Portuguese director Pedro Costa.
A couple nights ago I dropped by my new favorite Los Angeles cinema, the historic and tragic Silent Movie Theater on Fairfax, now completely reimagined by the oh so excellent curatorial group Cinefamily. As part of a series on animation for grown-ups, Cinefamily hosted a special screening and presentation on the origins of Nick
The Los Angeles Getty Museum hosts a theater performance of one of the towering Mexican poems of the 20th century: Octavio Paz's “Piedra De Sol." The multimedia production of this magnum opus is presented in connection with the sculpture exhibition “The Aztec Pantheon and the Art of Empire."
The cinema of Pedro Costa is indeed "colossal," and though its progression has been a labor of glacial speed, its achievements are as far reaching as the giant steps of those who've practiced the unacknowledged art of vigilant forbearance.
A couple months ago I wrote a blog post about how music videos were getting a bit monstrous. At the time, I didn’t yet find it odd that I was even watching music videos even though that MTV had long stopped playing them, and well, who watches the television nowadays anyway? Looks like the
