Basim Magdy, Our hope reflected Jewels in the Sky, 2012. Spray paint and acrylic on paper. Courtesy the artist, Newman Popiashvili Gallery, NY
Confronting the Monster in a Monster Costume
1 February – 3 March 2013
at Centre Culturel Suisse, Paris
Basim Magdy (b.1977 in Egypt, lives and works in Basel) has recently made himself known in France by his participation at the Palais de Tokyo triennial. CCS is presenting “Time Laughs Back at You Like a Sunken Ship”. Shot on super 8, the film takes inspiration from amateur films of the 70s. Read more
Shezad Dawood, Trailer, Production Still, 2011. Courtesy of UBIK Productions Ltd. Photography: Bartlomiej Sienkiewicz
26 January – 23 March 2013
at Art In General, New York
Curated by Anne Barlow
Trailer, 2011, presents an alternative edit from Shezad Dawood’s science-fiction feature film Piercing Brightness as a 15-minute, experimental “trailer”. As a recognized cinematic format, Trailer belies its own title, playing with typical expectations of the duration and role of a trailer in relation to a full-length film.
Jacob Kassay, Untitled, 2011, 16mm film installation, 27 mins. Courtesyof the artist; Protocinema, Istanbul; Art: Concept, Paris; Xavier Hufkens, Brussels, photos Batu Tezyuksel.
20 January – 16 February 2013
at Protocinema, Istanbul
During the single, 27-minute shot of Jacob Kassay’s 16mm film “Untitled” (2011), a helicopter lifts off from the desert ground, rises a couple of meters, hovers in place, then lands. The rotation of the helicopter’s blades synchronize with the frame rate of the recording camera, 24 frames per second. We see the paradox of flight without motion, the still blades lifting the vehicle. “The work stages an encounter between two machines in which the recording device cancels out an essential element of its subject, replacing the physical fact of its mechanics with the magic of its flight. Exploiting a coincidence of industrial design, Kassay fuses a phenomenon with its perception, re-enchanting it.” Read more
Sanja Iveković, Personal Cuts, 1982, 3’43”, still from video, colour, sound. Image courtesy of the artist
14 December 2012 – 24 February 2013
at South London Gallery & Calvert 22, London
This timely exhibition brings together Iveković’s pioneering feminist work in collage, film, performance and installation. Tackling issues of female identity, consumerism and historical amnesia, the show features work made across four decades against a background of political unrest. The exhibition highlights the complexity of Iveković’s practice, which lies precisely in exploring the intersections and commonalities across local conditions and global shifts. Works on display address the assault of the media on the individual, and the continued invisibility and erasure of women from the public sphere and from dominant historical narratives. Others address the effects of power and political agendas on public space, irrespective of regime.
Thomas Demand, Pacific Sun, 2012. Production still © Thomas Demand/SODRAC (2012) Courtesy Matthew Marks Gallery, New York/Sprüth Magers, Berlin and London/Esther Schipper, Berlin
19 January – 12 May 2013
at DHC/ART, Montréal
Curator: John Zeppetelli
A philosophical commentator on the authenticity of the “real” and the slippages of memory, Thomas Demand is a well-known German photographer who began as a sculptor, but is now widely acclaimed for photographic and moving image works.
Demand’s work interlaces photography, architecture and sculpture. His method usually begins with an image culled from the media, which is meticulously re-fabricated, by hand, into a life-size, three-dimensional paper and cardboard sculpture, to ultimately end up as a photograph. The resulting images are both very recognizable and strangely out of reach. Crucial to the context are photography’s long-debated truth claims, and the photograph’s indexical quality.
Film still from One Life, One Work, 2011. Directed by Sapija Andrzej. © Sapija Andrzej
FIFA’s 30th anniversary program packed in impressive audience numbers, with screenings of no less than 232 films from 27 countries. From 15 to 25 March 2012, art lovers and film buffs shared the projection rooms of the International Festival of Films on Art (FIFA), held in nine of Montreal’s most established cultural institutions. Between the Fine Art Museum, the Canadian Centre for Architecture, the Goethe Institute and more, here the filmic genre highlighted all artistic activities, from architecture to contemporary music, dance and of course visual arts.
The 11 day screening program was again enhanced with a series of meetings and performances, this year with pianist Marika Bournaki, film directors Alain Fleischer, Jennifer Alleyn, Anne-Marie Tougas, as well as choreographer Margie Gillis, to name just a few. The distribution of prizes awarded in the FIFA competition attested to this year’s rich mix of editing skills as much as to the program’s vivid portrayal of some of today most relevant artists.
Michelle Deignan: Posing as a Subject Amongst Subjects
at Maria Stenfors, London
16 July – 29 October 2011
Michelle Deignan “Microphone” (2008) Unique lambda print. Courtesy of the artist and Maria Stenfors.
Michelle Deignan’s London solo exhibition at Maria Stenfors Gallery entitled “Posing as a Subject Amongst Subjects” incorporates video installation, 16 mm film projection and photography. The installation occupies most of the exhibition space, Journey to an Absolute Vantage Point (2011) fits a two-channel video work onto a double-sided screen projection, the back-to-back videos playing off each other in treatment and in form. One side proffers a black-and-white violin, cello and piano trio performing the soundtrack of Deignan’s installation, while the other projection presents a postcard-like color shot of Berlin’s Schloss Charlottenburg (Charlottenburg Palace) and its surroundings, the scene of the story unfolding herein.