Bart Versteirt ed. , Bjorn Gabriels ed. , Inge Coolsaet ed.
Terwijl film station per station de moderne tijd bracht, verdween schijnbaar natuur steeds meer uit ons blikveld. Tegelijk zorgt film tot op vandaag voor nieuwe manieren om natuur te portretteren. Op het kruispunt van verdwijnen en verschijnen vinden we in film en landschap compagnons de route die elkaar slechts zelden uit het oog verliezen.
De vijde Nederlandstalige GLEAN editie.
Bijdrages over Chantal Akerman, Biënnale van Venetië, Eline de Clercq, Samah Hijawi, Laure Prouvost, Anastasia Bay, Wim Delvoye, Riar Rizaldi, Haegue Yang, Nil Yalter, Anna Maria Mariolino.
Annabel Brady-Brown, Giovanni Marchini Camia
Published on the centenary year of Pasolini’s birth, Pier Paolo Pasolini: Writing on Burning Paper is a dual edition that stages a dialogue between cinema today and Pasolini’s timeless films and words.
The two complementary volumes slide into one another, forming a unique set that evokes and celebrates Pasolini’s enduring influence. The smaller book features his epic autobiographical poem ‘Poet of the Ashes’, in a revised translation by esteemed poet Stephen Sartarelli; the larger book comprises original tributes by vital filmmakers from across the contemporary cinema landscape.
Twenty filmmakers shared personal reflections in the form of essays, poems, photographs, drawings and more: Catherine Breillat, Luise Donschen & Helena Wittmann, Jia Zhangke, Radu Jude, Payal Kapadia, Alexandre Koberidze, Dane Komljen, Mike Leigh, Mariano Llinás, Roberto Minervini, Valérie Massadian, Luc Moullet, Ben Rivers, Angela Schanelec, Ulrich Seidl, Basma al-Sharif, Deborah Stratman, Anocha Suwichakornpong and Gustavo Vinagre.
(...) There is no one on the chair, there is no hand on the table, perhaps nobody on the floor. The set up is empty, but some kind of unsettling presence is undeniable. The set up is so obviously fake that there must be something behind it. I am not going to lie: I am going to lie.
If I lie, there is a deliberated stand. I don't have to be "true", to myself, to others. My intention is not to find lying moving, but those who can never lie cannot grow either, cannot discover who they really are. The people, that every day are forced to rip off their personality into fragments, know something about themselves and about life that nobody could teach them. Lying, betraying, is to want to or be able to transform a situation, a fact, an emotion, oneself. The act of lying suddenly un-conceals what has been considered as neutral or as the reference point. The power relations already in place are being revealed, "normality" appears as hegemony. The lie embodies a transgression. It is an attempt to escape normative structures and the refusal to assimilate them. (...)
Includes contributions by Christian Noelle Charles, Andrej Dubravsky, Sandra Golubjevaite, Lewis Hammond, Tarek Lakhrissi, Nils Amadeus Lange, Floriane Michel, Stijn Pommée, Adam Ulbert
The 1960s and 1970s were a defining period for artists’ film and video, and the London Film-Makers’ Co-operative (LFMC) was one of the major international centres. Shoot Shoot Shoot documents the first decade of an artist-led organisation that pioneered the moving image as an art form in the UK, tracing its development from within London’s counterculture towards establishing its own identity within premises that uniquely incorporated a distribution office, cinema space and film workshop.
Contributions from: Antony Balch, Ian Breakwell, Bob Cobbing, John Collins, David Crosswaite, David Curtis, Fred Drummond, John Du Cane, Mike Dunford, Ray Durgnat, Deke Dusinberre, Stephen Dwoskin, Gill Eatherley, Steve Farrer, Simon Field, Chris Garratt, Peter Gidal, Marilyn Halford, David Hall, Roger Hammond, Simon Hartog, Ron Haselden, Jim Haynes, Roger Hewins, Tony Hill, Jeff Keen, Ian Kerr, Jonathan Langran, David Larcher, John Latham, Malcolm Le Grice, Mike Leggett, Carla Liss, John Mathews, Harvey Matusow, Anthony McCall, Barry Miles, Jack Henry Moore, Annabel Nicolson, Jenny Okun, David Parsons, Sally Potter, Stuart Pound, William Raban, Anne Rees-Mogg, Lis Rhodes, Carolee Schneemann, Anthony Scott, Guy Sherwin, John Smith, Chris Welsby. Illustrated throughout in full colour, this book brings together a wide variety of texts, images and archival documents, and includes newly commissioned essays by Mark Webber, Kathryn Siegel and Federico Windhausen.
LUX, London / 2016
Paperback, 288 pages incl 193 full colour illustrations
Natalia Irena Nikoniuk, Gabriela Galeao Batres
BRAIDS is a 130 pages-long publication that features both visual and written works of 20 young creatives. The desire of BRAIDS is to expand the idea of queerness beyond the borders of identity. The journal exists to host bodies that deny framing and dare to expose the vulnerability of their difference. The publication is thus a woven story of the contemporary globalised queer, insecure but daring, honey-glazed yet continuously aching.