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“Antigenic drift is a biological term that refers to the way viruses mutate to stay viable in a partially immune population.” — L.K.
“The promise embedded in the messages of the cosmetic industry is a slowed-down, postponed physical decline of the human body. Hide is based on excerpts of TV commercials promoting products of this industry: lotions, moisture creams, balms, soap and shampoo. Such commercials celebrate the attractive surfaces of immaculate, youthful bodies. The seductive glances of the female models, paired with autoerotic poses of a lascivious narcissism is characteristic of these clips. Hide concentrates on shots of hands either touching the body or cosmetic products. These recurring motifs, condensed in a new montage and repeated in a kind of “heavy rotation,” undergo various biochemical treatments: the emulsion is gradually violated, damaged, lifted off the film. However, the cyclic structure of Hide allows its deteriorating images a kind of resurrection out of the dirty white of the blank film.”—C.G. & M.M.
“Over the years, makeup has turned into a multi-billion-dollar industry that, for the most part, stays within the realms of the superficial and homogenized. The same could be said for film. A break from the traditional look in either medium places an artist in the realms of the “avant-garde.”
For a brief period of time, I worked as a makeup artist and learned the art of
making people look “the same”—and convincing them that they were inadequate
without some product. It was the most unsatisfying job I'd ever had until I discovered three unique shades of lip gloss that utilize liquid crystals. These were materials that I had sought for years but could never acquire because they are “industry secrets”—used by the cosmetics and technology industry. I used them as paint.
These three films were stop-motion animated on an optical printer using cross-polarized and front-lighting techniques.”—C.H.
“From old plates of an anonymous photographer who worked in the 50s, I extracted this impossible film (plates that had contributed to the composition of one of my little books with the title Sconosciuti [Persons Unknown].
Frame by frame, plate by plate, with strips of reflected light and strips of tens of faces, I tried to bring them into a single cinematic stream, thinking about a solitary, single face emerging from the darkness.”—P.G.
“BEIRUT, July 30, 2006—In Hamra, Beirut’s faded former commercial district, Hania Mroué had been looking forward to July as she opened the Metropolis, a theater for art-house movies. For the premiere, attended by the culture minister and the French ambassador, she picked Les Amitiés Maléfiques” (Poison Friends) by the French director Emmanuel Bourdieu, which won the Critics’ Week Grand Prix in Cannes. The next day the war began. Now about 40 people from Beirut’s bombed-out southern suburbs sleep in her movie theater and offices, which are two floors underground. During the day she shows films and documentaries to keep the children busy. Last Monday she decided to reopen the theater to the public for daily screenings at 6 pm: early enough, she said with grim Lebanese humor, so the audience can go home before the bombing begins. Last week she asked two doctors from the nearby American University of Beirut hospital to vaccinate the children in the theater. At the same time she somehow managed to obtain a Sri Lankan movie—The Forsaken Land—that had been stuck in Damascus for three weeks. Next she plans to show movies by the late Lebanese filmmaker Maroun Baghdadi about the country’s civil war. As everywhere, the war dominates discussions. ‘Things won’t be the same anymore. It’s the uncertainty that’s unsettling. It shows how precarious our lives were.’”—Jad Mouawad for The New York Times.
“side one swallowed up in the sky, the sound sustained by echo, always fading. the nature of a season, moving forward with growth or death or growth. or I was wondering how to make new england fall colors linger so if you couldn’t visit soon the yellow oranges and reds would still be waiting for you”—J.S.
“for a winter without much snow, we can all see the evidence in the exhales. or I was wondering if shadows pass faster and faster then, collectively, we might all see you by our sides”—J.S.
“with a car from 1966-1977 and a manual for violence prevention, you drive. the distance is now your compass so follow the shadows to your resting spot. or I was wondering if sincerity could override irony and flood out some emotions passed. then—all for the extension of time, follow the echo, it might disappear into the clouds”—J.S.
"lines drawn for structures, for community, for notes collected like anagrams. the radio sounds like an invitation to scramble all belongings and float them through the air as jets. or “The Bridge Between Matter & Spirit is Matter Becoming Spirit” (soleri)”—J.S.
the wedding present belated but here—for you two (and possible others, including my own). or hold onto the reception’s pendulum—until, the union of sky and water.
anniversaries and history and news broadcasts and land far away and land stolen or land deserved and the desert, the desert a war on its own or I was wondering if plane tickets were purchased sense could be made and have senses explode in an exaggerated way
an interruption:
turn the record over.
331/3 rpm, created to extend the duration of sound on a record – aural time lasting the length of projected image time. sustain. inspirations appear all over, everywhere —films like songs or marches or eulogies. this is an album of 11 films totaling 331/3 minutes, each a 100ft. roll, the sound follows (echoes)”—J.S.
“Behold!
A Quiet Evening at Home – Lego Faces – Sunday Honeyday
Marvel!
Tawrin’s Existential Machine – Bathroom Tiles – Coolness Destroys the Blues
Thrilling!
How to Draw a Kitten – Two Emotions – Gatsby’s Blue Chair
Hark!
Missing Girl – Solemn Prayer For Rabbits – Golden Brown Trails – Faithful Argos
The First Five Hundred and One Nocturnal Tales!
A caravan of stories! A rainbow of color! A cacophony of eyeblinks!
The 21st Century Mechanical Dream Machine!”—S.P.
“This film marks the invention of human sexuality and as such figures as an important turning point in the course of human affairs.”—K.J.
A mysterious object at high noon made of the bits and pieces constructed and found (like any day would be) only compressed into bundles of seconds and collisions of shapes. Composed with utter economy and wit, set to a Merz-like poem by film theorist Noel Burch.
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Sun Oct 7: 6:15
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