Admitting some jealousy around Dylan Gauthier's highwatermarks exhibit at the Brandywine River Museum, since I've for years wanted to do a painting/drawing piece based on walking the lengths of the Brandywine. This, though, is a beautiful video installation, which takes over a whole room with quiet scenes of Brandywine culture, industry, and ecology, and I'm excited about anything that might stir more conservation in the area and of the gorgeous river!
If you are an artist or curious at all about the artistic practice, I deeply suggest listening to @hellobethgill on our latest episode of What's Going On @withdanceandstuff.
I was reminded of the quote: "Not to find one's way around a city does not mean much. But to lose one's way, as one loses one's way in a forest, requires some schooling." - Walter Benjamin (Berlin Childhood Around 1900)
Thank you to all my voters who have placed #MidtownFlutter in the top 25 in the Time-based Category of ArtPrize 9 @artprize!! One more day to vote for round one! Visit #linkinbio for more info about the work. #65577#artprize9 photo credit @grartmuseum
September 17, 2017 – January 28, 2018
Over the last five decades, Cuban artists have used video art to explore the sociological, anthropological, political, spiritual and cultural realities of the island and its purposeful isolation. The artists explore a country torn by forces such as love and hate, desire and neglect, isolation and receptiveness, as well as western and eastern ideologies. Hope will highlight how a country full of contradictions became one of the most interesting places for the creation of contemporary art, and new media art in particular, as these artists distinctively melded mainstream models of video art (notably including Hollywood films) with Latin American influences. With its performative and installation-driven approaches, Cuban video art also had a huge effect on the wider field of Latin American contemporary art. Hope will give an overview of the surprising reciprocal influence of European and U.S. art and Latin American video art, from pioneer works of the 1960s and new creative processes in the 1990s until the most recent developments.
Featured Artists: Juan Carlos Alom | Rewell Altunaga | Santiago Álvarez | El Diletante Digital | David Beltrán | Edel Bordón | Jenny Brito | Benjamín del Castillo | Javier Castro | Sandú Darié | Felipe Dulzaides | Pako Espinosa | Kiko Faxas | Diana Fonseca | Ernesto Fundora | Carlos José García | José Fidel García | Luis Gárciga & Miguel Moya ´Luis y Miguel´ | Ricardo Miguel Hernández | Orestes Hernández | Jesús Hdez-Güero | Hamlet Lavastida | Ofill Hechavarría | Jorge & Larry | Glenda León | Duniesky Martín | Yusnier Mentado | Nelson Miranda | Reinier Nande | Levi Orta | Yadniel Padrón | Alfredo Ramos & Katarzyna Badach | Raupa | Rodolfo Peraza | Enrique Pineda Barnet | Nelson Ponce | Yimit Ramírez | Fernando Rodríguez | Ricardo Rodríguez | Lázaro Saavedra | and many more.
six years ago, i found this 35mm film on the floor of a black civil rights theater in brooklyn, new york. it was not in a canister, it was unprotected, it was neglected. i couldn't gauge what the film was about, if any frames were legible, if it was worth holding onto. i sent it to film labs in europe and the us, who rejected the film for transfer because of vinegar syndrome.
last year, i spent four months manually scanning 20,000 frames from this film. it was akin to watching a film in slow-motion on a 1x1.5 inch lcd screen. afterwards, i was able to have it professionally scanned. i opted against preserving the film and having it cleaned. i asked them to leave the fingerprints, the rat excrement, the dust, the mold, the dirt and popcorn kernels from sitting on the theater floor for over 20 years. it was evidence of the neglect of a community, a neglect that is recorded and preserved.
it forever changed my relationship to the medium, to time, to space, to representation, to archives, to erasure. the theater was destroyed in january, the same instance in which i first showed frames from the film publicly in a slide installation. this film exists because someone deemed the representation important, and wanted it to be seen. the film spoke, it said: we were here.
condos are being constructed on the site where this historical theater stood. if we zoom out, we'll see that condos are not to blame for this theater's demise, but a complex entanglement of politics, economics and racial inequities that make it possible to disenfranchise a community through neglect and gentrification.
nodding to oral history, i've written a voiceover to collaborate with the still anonymous maker of this film. the film, GO-RILLA MEANS WAR, is previewing for the first time at artprize 9. the film blends a wee bit of fiction to unify what is mostly true. i have left the artifact of gentrification, the film itself, unchanged.
our beloved rumsey street venue, which will be demolished immediately after artprize 9, is curated by @steffieras 💜 photo by mike clark.