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Craig \"Tribulation 99\" Baldwin follows intellectual property controversies across the contemporary arts scene. Playful and ironic, his cut-and-paste collage-essay surveys the prospects for an \"electronic folk culture\" in the midst of an increasingly c
Art theory has always had a major component in writing, or the illustration of the artists’ own ideas around their trajectory and working methods. To be more specific, writing has been a way for artists to ponder on their own activity, to identify certain trends they felt close to, to articulate a reflection on a given medium and challenge preconceived ideas.
Since 1950 I have been keeping a film diary. I have been walking around with my Bolex and reacting to the immediate reality: situations, friends, New York, seasons of the year. On some days I shot ten frames, on others ten seconds, still on others ten minutes. Or I shot nothing. When one writes diaries, it's a retrospective process: you sit down, you look back at your day, and you write it all down.
In this expanded edition of Cinéma Radical, first published in French in 2008, the artist Christian Lebrat reflects on a cinema that “follows its own rules and questions the very definition of the medium.”
2nd edition. English translation by Anna Doyle. To be published in May 2021
Let Me Feel Your Finger First's Ontologically Anxious Organism, narrates the experience of an animated character, who nervous about the very concept of character itself, disquises himself as a boulder. The three episodes follow the boulders progress through a series of reconstituted cartoon scenes whilst he grapples with existence, meets his maker and finally slips outside of the space of the picture plane to seek the ultimate reference.
In the 1990s, James Benning’s films were characterized primarily by an ongoing investigation of the relationship between the image and the (spoken or written) word. This 2-disc set features the two key works representing the peak of this “text-image film” period. In Deseret Benning (by way of the New York Times) retells the history of America’s Mormon State Utah through spectacular black & white and color images. Art and landscape join as one in Benning’s following film Four Corners, which serves as both a tribute to the famous region in the USA where four states converge and a portrait of four very different artists.
The work of Pere Portabella (Figueras, 1927) stands at the crossroads of art, film and politics. Close to the surrealist sensibility and conceptualism (he produced Viridiana by Luis Buñuel in 1962, among his colleagues are Brossa and Carles Santos), he has created since the late sixties one of the most unique filmographies of Spanish cinema, alternating with his political activity as a parliamentarian and senator. In his films, Portabella uses strategies of estrangement and dislocation that both formally bypass censorship as to enhance the expressive range of works, leading to fascinating symbolizations.
Chronic is an experimental narrative about a young woman who began mutilating herself as a girl to cope with a traumatic mid-western childhood. The lush optically-printed scenes take Gretchen’s point of view from her punk youth, a stay in a mental hospital, and her release into the big city. Scripted scenes are inter-spliced with documentary and found footage, illustrating the culture Gretchen lives in, her inner world and relationships from her birth to her final day.
A pioneer of British video art, once described in Art Monthly as ‘the Henry Ford of independent video’ George Barber gained an international reputation with ‘Scratch Video’, an original fast-cutting, multi-layered rhythmic genre of work in the 1980s.
Warsztat Formy Filmowej is a Polish-English publication edited by Marika Kuźmicz and Łukasz Ronduda.
The book is a compilation of the achievements of Warsztat Formy Filmowej, which was an avant-garde group operating at the Film School in Łódź (PWSFTviT im. L. Schillera) between 1970 and 1977.
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