Accattone #6 explores a renewed relationship with land, matter, ‘nature’ and localities against the backdrop of the new climatic regime. Situated at the intersection of architecture, representation and editorial-curatorial practices, the magazine is also permeated by a continuous research on methods and forms of practice. In particular, this issue addresses the use of film-making as a tool to foster and disseminate architectural positions; editorial devices and contents used by fellow little magazines; and the representation of nature in research, artistic and design practices. This issue is based on meetings and conversations that took place over the past year. Driven by ...

after.video realizes the world through moving images and reassembles theory after video. Extending the formats of ‘theory’, it reflects a new situation in which world and video have grown together. This is an edited collection of assembled and annotated video essays living in two instantiations: an online version – located on the web at http://after.video/assemblages, and an offline version – stored on a server inside a VHS (Video Home System) case. This is both a digital and analog object: manifested, in a scholarly gesture, as a ‘video book’.

To say that Albie is a multidisciplinary artist shows the paucity of art speak itself. He seems to use whatever tactics are at his disposal. Some of them relate, some of them don’t, although throughout our conversation we seem to find more vectors that connect through work than he was willing to admit to. Albie’s practice seems to be about just doing what seems right and feasible at the moment. He works as a graphic designer, he’s done conceptual audio pieces, one we play here, he’s made and shown sculptures and film and until the recent pandemic has split his ...

A screening and conversation with artist, writer, and filmmaker Renée Green. This program highlights Renée Green’s two recent short films, “Americas : Veritas (2018)”, and “Commemorative Toile: Mise-en-scène (2020)”. “Americas : Veritas” features Le Corbusier’s only two structures built in the American continent–Harvard University’s Carpenter Center for the Visual Arts, in Cambridge, Massachusetts, and Casa Curutchet, in La Plata, Argentina–while “Commemorative Toile: Mise-en-scène” revisits a homonymous wallpaper and textile installation made by Green in 1991/1993, which focused on the history of a pervasive textile and its motifs, as well as the artist’s interpretation of them. Tracing an arch that connects a European ...

What finally sits in front of you, Beyond Resolution, is an independently developed and published work – a collection of different types of texts ranging from short stories to basic optics and a manifesto like text, accompanied by a collection of artworks that I developed during the time of writing, presented in an a- chronological order. The organisation of this publication could be considered modular; the chapters can be read independently. However I did choose to order them the way they are for a reason: to present a consistently additive flow…

The YouTube Commentary Project invites artist to reflect on existing videos NY based artists Nina Katchadourian comments on a freehand drawing of a perfect circle

West Africa’s Guinea-Bissau declared unilaterally independence in 1973 and was recognized internationally in 1975 along with the other former Portuguese colonies. Luta ca caba inda (The Struggle Is Not Over Yet) is the title of a documentary film on the country’s post-independence left unfinished in 1980. Even in its fragmentary form, it is but one of several testimonies of a decade of militant cinema in the country, as part of the people’s struggle for independence from Portuguese colonialism, between 1963 and 1974, and the subsequent nation-building. The remains of this period of politically-engaged cinema, including finished and unfinished Guinean films, audio ...

Screening with filmmaker Suneil Sanzgiri followed by a conversation on the relationship between diasporic agency and filmmaking as an unenclosed practice of solidarity and revolt. The program includes Sanzgiri’s film ‘At Home But Not At Home’ (2019), featuring interviews with his father growing up under Portugese colonialism in India, utilizes modes of seeing at a distance to question the construction of memory, identity, and anti-colonial solidarity across continents. It will be followed by a trailer for his upcoming ‘Letter From Your Far-off Country’. Suneil Sanzgiri Suneil Sanzgiri is an artist, researcher, and filmmaker working to understand how systems of oppression are informed ...

Like all collaborative endeavors, bringing together an edited collection is about fixing as much as gathering the insights and details (and yes, flaws and limits) of individually or jointly conceived pieces to bring about a larger conversational whole – a drawing forth, or drawing together, of scattered threads and pieces into something considerably messier than a quilt. All the more so when the collection is the result of a generative collaboration, bringing guest editors Lara Houston, Daniela K. Rosner, Steven J. Jackson in conversation with the continent. collective to present this special issue “R3pair Volume”. The conversation of course runs ...

The sixth episode, with writer, lecturer, and curator Filipa Ramos is an approach to cinema from the ocean and to the ocean from cinema. Beyond the production of underwater images, there is a political relationship between cinema and the underwater world. As vision devices, the projection room and the tank or aquarium are related in their production of the fiction of a safe environment for the human being. Moreover, there are aquatic creatures capable of producing cinematic images, allowing an expansion of the concept of cinema beyond its own history and human history. This podcast is the result of a ...

Based on Daniel F. Galouye’s novel “Simulacron Three” Rainer Werner Fassbinder’s 2 part TV production is a science-fiction classic that explores the notion of a computer-generated other world, pre-dating The Matrix by 26 years. Since its original broadcast in 1973 it has rarely been seen and following increasing demand the Fassbinder Foundation have restored this remarkable film. Reader published to coincide with a two-part screening of Welt am Draht / World on a Wire (Parts I and II) directed by Rainer Werner Fassbinder, (1973) Screening Sunday 31 March 2013.

Interview with Asia Bazdyrieva and Solveig Suess of Geocinema.

A DIALOGUE ON MARGINAL GEOLOGY This dialogue was developed during Home Workspace Program 2013-14, at Ashkal Alwan – Beirut, Lebanon, 2014.

Digital Light brings together artists, curators, technologists and media archaeologists to study the historical evolution of digital light-based technologies. Digital Light provides a critical account of the capacities and limitations of contemporary digital light-based technologies and techniques by tracing their genealogies and comparing them with their predecessor media. As digital light remediates multiple historical forms (photography, print, film, video, projection, paint), the collection draws from all of these histories, connecting them to the digital present and placing them in dialogue with one another.

The chances are that you are reading these words on a mobile device. There is a good chance that you are spending a lot of time on that device every day. If that is the case, you are not alone. It is reported that in the US alone, the average adult spends two hours and 51 minutes on their smartphone every day. That is eight minutes longer than Andrei Tarkovsky’s film Stalker. But it is a good hour and ten minutes shorter than the average time that a French worker once spent watching TV. In China in 2018, the average daily time ...

Collective Çukurcuma included video works of Funa Ye and the Istanbul Queer Art Collective as part of the FLOW OUT exhibition, hosted by Bilsart, Istanbul until June 30, 2019. The program is based on the common practice of thinking, expressing and writing collectively about the present. As co-authors, they continued to write the collective essay through email exchanges — no one is the owner of the piece, whereas each of them is a participant. FLOW OUT does not belong to a place, but it refers to contemporaneity, addressing the problem of authorship in a collaboration, and experimenting with the idea ...

Bulletin #5. Chance and control. Photography, video and the web. Part II Part II: 02 Online filming 03 An art that generates itself Part I on Bulletin #4 Since the coming of image technologies (and particularly with photography, video, and the Web) contemporary culture has lost control over images, which became more and more independent from their author. Luca Panaro formulates his thesis by reinterpreting the works of theorists (Susan Sontag, Walter Benjamin, Vilém Flusser), writers (Luigi Pirandello, Italo Calvino, Penelope Lively), even film directors (Buster Keaton, Michelangelo Antonioni, Wayne Wang), and finally contemporary artists (Franco Vaccari, Douglas Gordon and Philippe Parreno, Wolfgang Staehle, Roberto Cuoghi, Carlo ...

Organized in collaboration with Antje Ehmann and Doreen Mende, this issue of e-flux journal pays tribute to Harun Farocki (January 9, 1944–July 30, 2014) with a series of essays and reflections on his work and life by friends, collaborators, film scholars, and admirers. Those who knew Harun personally remember not only the epic influence of his work, but also his generosity as a friend and collaborator. As for us, we have never before dedicated a full issue of e-flux journal to a single artist… Editorial—Harun Farocki Julieta Aranda, Brian Kuan Wood, Anton Vidokle A Question They Never Stop Asking Kodwo Eshun Also of Things: Notes for a Film Remembering ...

Finding Fanon 2, made by Larry Achiampong and David Blandy, uses the Grand Theft Auto 5 in-game video editor. Finding Fanon 2 was commissioned by Brighton Digital Festival 2015, supported by Arts Council England. The Finding Fanon series is inspired by the lost plays of Frantz Fanon, (1925-1961) a politically radical humanist whose practice dealt with the psychopathology of colonisation and the social and cultural consequences of decolonisation.

Jalal Toufic is a thinker whose influence in the Beirut artistic community over the past two decades has been immense—notwithstanding that, as he put it, many, if not all of his books, most of which were published by Forthcoming Books, “continue to be forthcoming even after their publication.” In relation to one of these books, he wondered: “Does not a book titled Forthcoming suggest, ostensibly paradoxically, a second edition?” Here’s the revised edition of Forthcoming, a book first published nearly a decade and a half ago by Atelos press. —Julieta Aranda, Brian Kuan Wood, Anton Vidokle

This group exhibition brings together artworks and objects to trace various transformations of meaning, reception, and use over time. The titular metaphor of the whale’s belly—a mythic space separated from lived reality—plays on the residual legacy of the white cube as an allegedly bracketed space of reflection, contemplation and perceptual or political transformation. Just as Jonah, who in the biblical account was swallowed by a whale, and perhaps the visitor, are transformed through isolated meditation, In the Belly of the Whale plays content against its framing to question both how an artifact references a given historical moment and how different modes ...

Raspberry Pi Ad-hoc Video Exhibition built on liblib and liblib-exhib for the Kadist Art Foundation. La Nube Oscura is a mobile video program of contemporary artworks, curated (and carried) by Joseph del Pesco. The program is accessed via wifi and viewed on whatever device you have with you: smartphone, laptop or tablet. The contents of the program continue to change and evolve, so log-in to see what’s currently on view. Please note that headphones are highly recommended for video viewing. There has been some confusion about a variety of new terms recently developed to help us understand parts of the internet that ...

Michael Snow traces the dualistic structure of his work to his Canadian upbringing between two cultures—English and French—and his early awareness of the different qualities of sight and sound, learned from his parents. Having studied at the Ontario College of Art in his native Toronto, he travelled in Europe in the 1950s and lived in New York in the 1960s. Snow’s contributions to three spheres of cultural activity—visual art, experimental film, and music—have been recognized internationally.

Morality is an invitation to reflect and debate situations in contemporary life that refuse clear distinctions between right and wrong, what is and what ought to be. As a whole, this project has been defined by a desire – inherent to contemporary art – to open spaces for active, engaged forms of spectatorship that are not predetermined by either moral or ideological imperatives. Morality is a provocative theme, especially in a world that is now determined by the experiences of war, displacement, political and economic crises, the rise of religious stereotypes, and the radicalization of seemingly old doctrines and ideologies. ...

Positioned at the intersection of cinema, painting, installation, architecture, video, drawing and photography, the work of Morgan Fisher remains to be explored, as is its influence on new generations of artists. This collection of texts by researchers, artists and critics, exploring Morgan Fisher’s filmography in relation to his other artistic practices, and investigates the special temporality created by Fisher’s structural interventions. The publication gathers researchers, artists and critics, to draw up the unprecedented profile of a work guided by the love of cinema, while going beyond it. Morgan Fisher, an artist and filmmaker, was born in Washington, D.C., in 1942. He ...