by Mónica Delgado
In Hermia & Helena, Matías Piñeiro deals with his fascination for the Shakespearian characters of A Midsummer Night’s Dream in a different way than his two previous films: La Princesa de Francia or Rosalinda. Here the tale is divided by chapters, chapters that search for answers in flashbacks or by insinuating that what we see of the future (or present) is possibly part of a dream.
By Vica Smirnova
As with Antonio López Garcia, who follows nature, Victor Erice creates a palimpsest of times, or, rather, of traces of their presence, insisting on conventionality of end and beginning. In the end the camera, which for a long time shared a place with the artist, is left in solitude. Different mediums will create a semblance of finality; of something that doesn’t finish or, on the contrary, finishes in every moment of painting and filming.
by Bidhan Jacobs
Designed and published online on October 14th 2004, restored for The Wrong (Again) – New Digital Art Biennale on November 1st 2015, the website I Love You by French artist and net-art pioneer Jacques Perconte is not only a wonderful achievement of his research on image files visualization through the Internet, but also a fundamental piece in his artwork, and this for three reasons: first, it crystallizes a history of audiovisual technologies in the web age; next, it allows the analysis of his singular inventions on plasticity which are shaped by the offensive processes and techniques Perconte has developed until 2015; finally, it makes explicit the artist’s constant will to put the body to the test of digital technologies (in this case the partner’s body) and to literally inject life (each and every thought, interest, feeling, emotion, excitement, and desire aroused in him by the beloved body).
By José Sarmiento Hinojosa
This text doesn’t aspire to cover the history and the whole environment of current and historical practices on digital media and the avant-garde. It is mere a guide with annotations on some contemporary artists working in the medium and a reflection on their practices in the contemporary universe of experimental cinema.
By Tara Judah
Nick Briz, whose ‘how to glitch art’ hypermedia essay/tutorial/video I’ve taken as this article’s opening quotation, creates new media art, organises new media art events and works as a professor in a fine arts college in Chicago where he and his students discuss and produce experimental new media art. He also co-organises a conference interrogating the politics, progression, aesthetic and movement of glitch art called GLI.TC/H
Por Mónica Delgado
En RGB XYZ (2008), el irlandés David O’Reilly compone un universo salido del Paint, así de amateur en su trazo como dislocado en su estética, y observado desde un amago de drone endemoniado, que subvierte todo el mundo, rompiendo la gravedad y que permite el gobierno absoluto del pixel gigante y en completa ebullición. Como en sus trabajos posteriores, existe una fusión extraña, en la necesidad de romper con una convención de los límites de la animación propia de Hollywood, aliada a una sensibilidad punk para arrastrar a sus personajes a submundos decadentes y de crisis existenciales.
By Lauren Bliss*
In early 2015, the Indonesian experimental film co-operative Lab laba laba (Spider Lab) restored for exhibition a large number of propaganda films that had been produced in the abandoned film studios of the State Production Film Centre (PFN) in Jakarta. Having been left to the elements for nearly 12 years, the PFN was once the central film production house of New-Order era Indonesia.
By Victor Bruno
Over the last few months—starting with the release of Ricki and the Flash (2015) on home video—I developed an interest in Jonathan Demme’s cinema. As I watched his films, I developed a few ideas and scratched some notes on them about his ideas, interests and general style. That, by coincidence, happened to coincide with shifts on ideas of my own. Some of these notes were abbreviated and became my entry on MUBI’s Notebook fantasy double-feature pool.
By Vica Smirnova
Since the 1930s Hopper has been quoted endlessly: De Mille and Siodmak, Hitchcock and Lynch. Hopper’s infinite stylizations reproduced the same effect of subtraction of the human, priority of space over its character. In his Victorian cottages, deserted cafes and hotels, a character was present only to point out his own insignificance. Hopper invented an absent America, and having fallen in love with its own reflection, it forgot about the author, as if this landscape had materialized out of thin air and had existed from the start.
By Luke Scerri
It is an unfortunate undeniable occurrence that in film criticism, the importance of the musical contribution to the transformation of the art form is quite often overlooked, or underestimated because of several other factors that seem to strike the viewer at first glance. Bertolucci’s Last Tango In Paris is certainly no exception.
Director: Mónica Delgado Ch.
ISSN 2311-7451
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