Sarah Smolders reproduced 10’000 tiles to create an exact copy of the floor of the Netwerk Aalst and then presented them on the top of the existing floor – Concrete, Concrete by Sarah Smolders, Netwerk Aalst, Aalst (Belgium) until December 16, 2018

29 September 2018 - exhibition, hyperlink - Comments Off on Sarah Smolders reproduced 10’000 tiles to create an exact copy of the floor of the Netwerk Aalst and then presented them on the top of the existing floor – Concrete, Concrete by Sarah Smolders, Netwerk Aalst, Aalst (Belgium) until December 16, 2018

Michael E Smith. Atlantis

28 September 2018 - exhibition - Comments Off on Michael E Smith. Atlantis

Kenneth Anger, Babylon, 1959

18 September 2018 - hyperlink, web - Comments Off on Kenneth Anger, Babylon, 1959

I’ve come to think that the idea of a cinematic moment concerns a tension between lived experience and its representation. In other words, just as certain experiences can become iconic so too can certain representations be lived. The observations – propositions? – that I wrote for my booklet do not involve a camera, a projector or a theater. Their cinematic claims are instead rooted in perception and signification. The spectator comprises subjective consciousness in the act of self-observation, a somewhat tautological state. The moment of realization is predicated on redundancy. Moreover, to qualify as “cinematic,” an experience need not echo an actual film. Rather, it only would need to be representable and repeatable. These qualities suggest a narrative kernel. They pertain to both scenario, namely a setting that might engender a narrative arc no matter how minimal, and script, namely an anticipated sequence. A scenario need not be a literal place and a script need not be written. According to these terms, the “cinematic” could be a distillation. – John Miller, What is a Cinematic Moment?

16 September 2018 - hyperlink, text - Comments Off on I’ve come to think that the idea of a cinematic moment concerns a tension between lived experience and its representation. In other words, just as certain experiences can become iconic so too can certain representations be lived. The observations – propositions? – that I wrote for my booklet do not involve a camera, a projector or a theater. Their cinematic claims are instead rooted in perception and signification. The spectator comprises subjective consciousness in the act of self-observation, a somewhat tautological state. The moment of realization is predicated on redundancy. Moreover, to qualify as “cinematic,” an experience need not echo an actual film. Rather, it only would need to be representable and repeatable. These qualities suggest a narrative kernel. They pertain to both scenario, namely a setting that might engender a narrative arc no matter how minimal, and script, namely an anticipated sequence. A scenario need not be a literal place and a script need not be written. According to these terms, the “cinematic” could be a distillation. – John Miller, What is a Cinematic Moment?

wfw weekend #456

8 September 2018 - exhibition, features, weekend - Comments Off on wfw weekend #456

week 36: three exhibitions to see

7 September 2018 - agenda - Comments Off on week 36: three exhibitions to see

Vanessa Place & Cassandra Seltman. Gagging on rape

3 September 2018 - text, web - Comments Off on Vanessa Place & Cassandra Seltman. Gagging on rape

one pic saturday. Damien Hirst

1 September 2018 - exhibition, one pic - Comments Off on one pic saturday. Damien Hirst