Now that the whole thing is over I have these thoughts about the simulacra-palooza that was Cinema Effect:
1. I felt like I kept hearing the same song over and over. I get it! Cinema isn't real, but looks like it.
2. I suppose that one problem with a show like this is that by the time artists reach a level of status that enables them to be exhibited in a museum setting, the work has aged a bit when compared with where the conversation surrounding reality and such has been.
3. The thesis of the exhibition was really exciting with some great film works, but a number of let downs. We are going to keep this positive from now on, so no poo-pooing Kerry Tribe.
4. The Pierre Huyghe installation Third Memory totally encompasses this idea of how film and constant retelling changes memory. In the installation your experience as a viewer is not unlike the experience of the subject, seeing the story line shift with each retelling. If you don't know what I mean...you lost out. This piece wins the Matt's Studio Apparatus d'Oro award!
5. There was a lot of footage of facades and sets. The Christian Jankowski work This I Played Tomorrow which is set in a Cinecitta set, adequately, though somewhat heavy handed, sets up the thesis of the show. This thesis is then subsequently hammered home in the exact same terms by Julian Rosefeldt's Lonely Planet (backpacker on a Bollywood set), Mungo Thompson's New York, New York, New York, New York (any[urban]town USA set).
6. I don't think artists having actors act like the artist credited (Kerry Tribe's Double) with the work is very interesting, but Ian Charlesworth's John was really interesting, and I didn't need the wall text to get it! Here we have a Belfast hooligan, youngster auditioning to play a Belfast Hooligan Youngster. A clear and simple statement about the slippage between falsity and reality for the sake of TV. And Francesco Vezzoli's Marlene Redux: A True Hollywood Story! was simply parody. And funny! Though it did touch on real events. Or did it?
2. I suppose that one problem with a show like this is that by the time artists reach a level of status that enables them to be exhibited in a museum setting, the work has aged a bit when compared with where the conversation surrounding reality and such has been.
3. The thesis of the exhibition was really exciting with some great film works, but a number of let downs. We are going to keep this positive from now on, so no poo-pooing Kerry Tribe.
4. The Pierre Huyghe installation Third Memory totally encompasses this idea of how film and constant retelling changes memory. In the installation your experience as a viewer is not unlike the experience of the subject, seeing the story line shift with each retelling. If you don't know what I mean...you lost out. This piece wins the Matt's Studio Apparatus d'Oro award!
5. There was a lot of footage of facades and sets. The Christian Jankowski work This I Played Tomorrow which is set in a Cinecitta set, adequately, though somewhat heavy handed, sets up the thesis of the show. This thesis is then subsequently hammered home in the exact same terms by Julian Rosefeldt's Lonely Planet (backpacker on a Bollywood set), Mungo Thompson's New York, New York, New York, New York (any[urban]town USA set).
6. I don't think artists having actors act like the artist credited (Kerry Tribe's Double) with the work is very interesting, but Ian Charlesworth's John was really interesting, and I didn't need the wall text to get it! Here we have a Belfast hooligan, youngster auditioning to play a Belfast Hooligan Youngster. A clear and simple statement about the slippage between falsity and reality for the sake of TV. And Francesco Vezzoli's Marlene Redux: A True Hollywood Story! was simply parody. And funny! Though it did touch on real events. Or did it?
7. Candice Breitz's Mother + Father was one of two show stoppers.
8. Isaac Julien's Fantome Creole was the most beautiful thing there, though I had a hard time focusing because of some nearby loud talkers. You know...dark room, four screens...we should get to know each other types, or we should talk about how we don't get "contemporary art" or film or whatever types. I was trying not to overhear.
8. Isaac Julien's Fantome Creole was the most beautiful thing there, though I had a hard time focusing because of some nearby loud talkers. You know...dark room, four screens...we should get to know each other types, or we should talk about how we don't get "contemporary art" or film or whatever types. I was trying not to overhear.
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