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TRAVIS, Berlin, November 2015.

Installation view, OTOBONG NKANGA, The Apparatus, 2015, from the exhibition Crumbling Through Powdery Air, at Portikus, Frankfurt am Main, Germany, July 16 – September 6, 2015. Shot by HELENA SCHLICHTING. Taken from

Within what is an intense but relatively narrow circle of cinephiles, Jacques Rivette’s 1971 film, “ Out 1: Noli Me Tangere” (the subtitle is Latin for “touch me not”), is considered, as more than one writer has put it, a kind of filmic holy grail. The nearly 13-hour work, a cinematic soak both sprawling and intimate, has been almost impossible to view in the more than 40 years since its production. (…)

The half-day’s worth of film Mr. Rivette assembled after a six-week shoot was shot in 16 millimeter, which lends the film’s imagery a near-documentary “realism.” What plays out is a cinematic experience of life as performance, performance as life, reality as a construction and reality as someone else’s construction impinging on your own. The pace, which picks up and slows down throughout, is not some kind of perverse challenge to the audience. It is intrinsic to the inescapable atmosphere of the work. The viewer is best off to “just go with it,” as experienced heads used to say to novice LSD users. GLENN KENNY, excerpt from Review: JACQUES RIVETTE’s 1971 Film, ‘Out 1: Noli Me Tangere’, for the New York Times, November 3, 2015. Taken from

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