Viewing articles tagged with 'Video'

Maureen Paley, 60 Three Colts Ln, London E2 6GQ

Lawrence Abu Hamdan: Once Removed

Once Removed

Abu Hamdan’s film ‘Once Removed’ (2019) suggests the experience of transgenerational memory might be employed as a method of re-processing history and gathering together fragments of the obscured past through a more empathetic lens. Presented as a split screen video where the artist and his interviewee converse as silhouettes in front of two large projections, this work exists on multiple levels. Review by Gabriella Sonabend

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Portland Institute for Contemporary Art, 15 NE Hancock St, Portland, OR 97212, United States

Interview with Carlos Motta: We Got Each Other’s Back

Carlos Motta: We Got Each Other's Back, installation view

Three stage settings topped with multiple videos stretch across the expanse of the Portland Institute for Contemporary Art, featuring the autoethnographies of Heldáy de la Cruz, Julio Salgado, and Edna Vázquez, all in collaboration with multidisciplinary artist Carlos Motta. Motta generously and pointedly answered queries I prompted for this collective project and how it articulates personal counter-narratives through its form in addition to its relation to Motta’s previous works that query the socio-political conditions of marginalised communities, their enmeshed ethical stakes, and the deep affective bonds that they invoke. Interview with Laurel V. McLaughlin

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David Kordansky Gallery, 5130 W Edgewood Pl, Los Angeles, CA 90019, United States

Adam Pendleton: Begin Again

Adam Pendleton, Begin Again, David Kordansky Gallery, Los Angeles, November 7-December 19, 2020, Installation view

Adam Pendleton is a New York-based artist whose current exhibition, ‘Begin Again’, is showing at David Kordansky Gallery in Los Angeles, California. Pendleton’s work is significant because it highlights the politics surrounding race and identity, but also demonstrates the chaotic nature of the artistic mediums he uses. Pendleton works with a thick application of paint on canvas, a polyester film called ‘mylar’, and video. His various methods of representing words through mediums allow viewers to separate themselves from any preconceived meanings of language. Pendleton’s work is a representation of the intersections that connect art to the political and social interpretations that text can present. Review by Sheena Carrington

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Like A Little Disaster, Online

The eye can see things the arm cannot reach

Cecile B. Evans, A Screen Test for an Adaptation of Giselle, 2019; Installation view

Before the pandemic, Julie Grosche and the collective Like A Little Disaster (founded in 2014 by Giuseppe Pinto and Paolo Modugno) had organised a large group exhibition to take place in a 17th century church in Polignano a Mare, a beautiful town on the coast of southern Italy. Once Italy entered lockdown, the curatorial team reconfigured the show as an online exhibition and I’m glad to say that their commitment has paid off handsomely – ‘the eye can see things the arm cannot reach’, presented by the website Sajetta, is a thrilling cocktail of contemporary video work. Review by Tom Lordan

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Online

Hotel Happiness

Hotel Happiness, Lobby, Installation View

We are going through a time when our movement is limited and the notion of hospitality has a very different meaning; our bodies are playing host to a virus, while we are unable to host or be hosted in domestic spaces. Experiencing a virtual hotel that hosts artworks and artists as its guests does something powerful. I realise I haven’t thought about these temporary homes in a long time. And ‘Hotel Happiness’ provides this hospitable space—despite the limitations of the digital sphere. Review by Deniz Kırkalı

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Primary, 33 Seely Road, Nottingham, NG7 1NU, United Kingdom

Rebecca Lennon: LIQUID i

Rebecca Lennon, LIQUID i (2020)

Installed in the generous space of the assembly hall of a former school building, the six-channel sound and three-channel video work lures the viewer into a cacophonic whirl of multiple layers and intertwining currents. The artwork induces a vertiginous split-attention effect—a poetic response to the present condition, which is often characterised by contemporary philosophers as liquid, ever changing and precarious in its instability. Review by Jaroslava Tomanova

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Online, Big Screen Southend and Focal Point Gallery, Elmer Ave, Southend-on-Sea SS1 1NB

To Dream Effectively

Danielle Brathwaite-Shirley Resurrection Lands 2020 Digital video, 40 minutes 51 seconds; four console online game; banners; cctv; painted wall installation Courtesy the artist

Effective dreams are dreams that can change the world. ‘To Dream Effectively’ at Focal Point Gallery in Southend-on-Sea is a group show based upon the writing of Ursula K. Le Guin, bringing together alternative narratives for the future of our planet, both online, within the gallery, and upon Big Screen Southend. Review by Elliot Warren Gibbons

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Online

Plicnik Space Initiative

Plicnik Space Initiative

The Plicnik Space Initiative, a new artistic venture founded by Amelie Mckee and Melle Nieling, hosts its inaugural exhibition aboard the D02.2, a fictional spacecraft of massive proportions, with a mission to explore the boundary between physical and virtual space. As museums and galleries across the globe face uncertain futures in the wake of the pandemic, the show interrogates the parameters of digital curation, inviting imaginative responses to a range of pressing questions concerning art and the environment, technology, and commerce. Review by Rowland Bagnall

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Online

Film London Jarman Award 2020

Black to Techno, Film made in collaboration with Frieze and GUCCI, shot on location in Detroit 2019

The six shortlisted works for the 2020 Film London Jarman Award are thought-provoking, exquisitely produced films that are markedly diverse and address concerns, in different documentary-style formats, that are at the forefront of social consciousness. They showcase the best in contemporary artists’ filmmaking and are being taken on a virtual tour to venues across the UK from 24 September to 19 November 2020. A prominent theme in the shortlist concerns archaeology, made manifest in the evaluation of the past or the uncovering of layers. Review by Rina Arya

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Forma Arts and Media, Peveril House, London, SE1 4TD

Interview with Alberta Whittle: ‘RESET’

Alberta Whittle RESET , 2020 Co - commissioned & co - produced by Frieze and Forma

Alberta Whittle’s new moving image work ‘RESET’ (2020) was awarded the 2020 Frieze Artist Award. Filmed across the artist’s native Barbados, as well as South Africa and the United Kingdom, it charts a polyphonic journey, woven together through contributions by writers, performers, and musicians, who Whittle refers to as her accomplices. ‘RESET’ is steeped in postcolonial and queer theory, informing Whittle’s process, which is also a form of protest: the work addresses contagion, xenophobia and their colonial entanglements, while exploring healing and meditation as forms of resistance. To reset, by Whittle’s terms, is not only to wipe the slate clean, but also to create a new de-colonial language: aural and written, embodied and spiritual, made up of multiple diasporic alliances. Interview by Inês Geraldes Cardoso

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Jerwood Arts, 171 Union Street, London SE1 0LN

Jerwood/FVU Awards 2020: Interview with Reman Sadani

Reman Sadani, Walkout 1, 2020. Commissioned for Jerwood/FVU Awards 2020: Hindsight. Supported by Jerwood Arts and Film and Video Umbrella. Photo: Anna Arca

As Reman Sadani's film 'Walkout 1' premieres at Jerwood Arts, Anneka French sat down with the artist, one of the winners of the Jerwood/FVU Awards 2020, to discuss her new work and the impact the award has had upon her practice. Interview by Anneka French

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Jerwood Arts, 171 Union Street, London SE1 0LN

Jerwood/FVU Awards 2020: Interview with Guy Oliver

Guy Oliver, You Know Nothing of My Work, 2020. Commissioned for Jerwood/FVU Awards 2020: Hindsight. Supported by Jerwood Arts and Film and Video Umbrella. Photo: Anna Arca

Ahead of the presentation of his newly commissioned film, 'You Know Nothing of My Work', at Jerwood Arts this autumn, Anneka French sat down with artist Guy Oliver—one of the recipients of the Jerwood/FVU Awards 2020. Interview by Anneka French

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Bonington Gallery, Nottingham Trent University, Dryden St, Nottingham NG1 4GG

Sophie Cundale: The Near Room

Sophie Cundale, The Near Room, 2020 (film still). Installation view at Bonington Gallery. Photo: Jules Lister. Courtesy the artist and FVU

Sophie Cundale’s new film commission ‘The Near Room’ (2020) is an absurd psychological melodrama about loss and the aftermath. The film as a whole asks, but doesn’t answer the question of how we make sense of experiences in flux, like ecstasy or crisis. In unfathomable times, when death feels closer to life than ever, this film is an unsettling watch. Review by Andrew Price

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The Assembly Room, 82 Borough Road, London, SE1 1DN, United Kingdom

Elizabeth Price: SLOW DANS

Installation view of Elizabeth Price's SLOW DANS at the Assembly room, London Presented by Artangel Photographer: Zeinab Batchelor

Elizabeth Price’s cycle of three multi-channel video works comes to London’s Assembly Room after showings at the Walker Art Centre, Nottingham Contemporary and the Whitworth, University of Manchester. Review by Kirsty White

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