Showing posts tagged film.
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looking back

this blog is a collection of jpgs of artworks. artist not present, already dead or dead sometimes.

Andrea Fraser - Officially Welcome. 2001 (via artnet)

Andrea Fraser - Officially Welcome. 2001 (via artnet)

— 2 months ago with 1 note
#art  #performance  #film 

Mark Formanek - Standard Time. 2010

(Source: youtube.com)

— 2 months ago with 1 note
#art  #film  #performance 

bengiles:

Oliver Laric - Variations 

(via museoleum)

— 9 months ago with 41 notes
#art  #film 

Rebecca Horn, Berlin, 1974 (via artclassicnews)

— 10 months ago
#art  #video  #film 

Klaus vom Bruch: Das Alliiertenband 1982 (via Klaus vom Bruch)

— 10 months ago
#art  #film  #video  #Klaus vom Bruch 
Christian Jankowski - The Holy Artwork. 2001 (via List Visual Arts Center)

Christian Jankowski - The Holy Artwork. 2001 (via List Visual Arts Center)

— 10 months ago with 1 note
#art  #film  #video 
Marcel Odenbach, Urlike Rosenbach, Klaus vom Bruch - Alternativ Television
(via Media Art Net)

Marcel Odenbach, Urlike Rosenbach, Klaus vom Bruch - Alternativ Television

(via Media Art Net)

— 10 months ago
#art  #film  #video 
Richard Mosse - The Enclave. 2013 (via Nerdcore)

Richard Mosse - The Enclave. 2013 (via Nerdcore)

— 10 months ago with 2 notes
#art  #film 
"Wie lange soll die Kunst die höhere Tochter bleiben, die zwar in allen verrufensten Gäßchen sich auskennen, beileibe aber sich von Politik nichts träumen lassen soll? Das hilft nichts, sie ließ es sich immer träumen. Daß jedem Kunstwerk, jeder Kunstepoche politische Tendenzen einwohnen, ist – da sie ja historische Gebilde des Bewußtseins sind – eine Binsenwahrheit. […] Die technischen Revolutionen – das sind die Bruchstellen der Kunstentwicklung, an denen die Tendenzen je und je, freiliegend sozusagen, zum Vorschein kommen. In jeder neuen technischen Revolution wird die Tendenz aus einem sehr verborgenen Element der Kunst wie von selber zum manifesten. Und damit wären wir denn endlich beim Film.
Unter den Bruchstellen der künstlerischen Formationen ist eine der gewaltigsten der Film. Wirklich entsteht mit ihm eine neue Region des Bewußtseins."
Walter Benjamin: Erwiderung an Oscar A. H. Schmitz, in: Rolf Tiedemann und Herman Schweppenhäuser (Hg.): Walter Benjamin - Gesammelte Schriften, Bd. II.2, Frankfurt am Main 1991, S. 751-755, hier: S. 752. (via walter-benjamin-bluemchen)

(via ratlosnetzwerk)

— 1 year ago with 13 notes
#film 
attraktor:

I don’t like the ambition in American films, and these characters don’t have ambition really and are also not intellectual characters, so it’s not an existential film. They’re not constantly questioning their existence or questioning the state of the world around them. Instead they have a kind of acceptance of it. Instead they move through the world of the film in a kind of random, aimless way, like looking for the next card game or something, rather than interpreting things as philosophical symbols or anything. So that relates to the reason why there isn’t the violence and sex and certain expected things in the film. The whole idea of the film was not really to give the audience anything that they would be expecting. And the form of the narrative itself works that way, too. If you stop the film at any point the audience wouldn’t have any idea what was gonna happen next, or really be that aware or that conscious of the narrative itself. Instead they’re more interested in smaller details, and situations, and characters. The sense of humor works in the film that way, too. It works from details, not from big gags or jokes, verbal or visual. Instead it’s humor of small details. – Jim Jarmusch on Stranger Than Paradise

attraktor:

I don’t like the ambition in American films, and these characters don’t have ambition really and are also not intellectual characters, so it’s not an existential film. They’re not constantly questioning their existence or questioning the state of the world around them. Instead they have a kind of acceptance of it. Instead they move through the world of the film in a kind of random, aimless way, like looking for the next card game or something, rather than interpreting things as philosophical symbols or anything. So that relates to the reason why there isn’t the violence and sex and certain expected things in the film. The whole idea of the film was not really to give the audience anything that they would be expecting. And the form of the narrative itself works that way, too. If you stop the film at any point the audience wouldn’t have any idea what was gonna happen next, or really be that aware or that conscious of the narrative itself. Instead they’re more interested in smaller details, and situations, and characters. The sense of humor works in the film that way, too. It works from details, not from big gags or jokes, verbal or visual. Instead it’s humor of small details. – Jim Jarmusch on Stranger Than Paradise

(Source: iwanttobelikearollingstone)

— 1 year ago with 516 notes
#film 

plagiarismisnecessary:

Mark Leckey

Fiorucci Made He Hardcore (1999)

— 1 year ago with 15 notes
#art  #film 
Anja Kirschner and David Panos - Ultimate Substance
Article by LF

Anja Kirschner and David Panos - Ultimate Substance

Article by LF

(Source: dawnofthegreeks, via dr0fn0thing)

— 1 year ago with 4 notes
#art  #film 

Walter Gramming - Hammer und Sichel. 1979. (Walter Gramming on youtube)

— 1 year ago
#art  #film 

Chto Delat : Partisan Songspiel. Belgrade Story. 2009 (info)

— 1 year ago
#art  #film