Berfrois

Robyn Ferrell: Freedom’s Formula

Robyn Ferrell: Freedom’s Formula

‘The Future is Here – it is just not evenly distributed’ was the catch phrase for the Sydney Biennale, which closed this month. But the experience on offer forecasted an uneven future for a widely distributed art product.

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Such Lovely Parents

Such Lovely Parents

13 November, Yorkshire. The film ‘opens well’ as they say and here in the village people have been going down to Skipton to see it.

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The erotic and the pornographic do not vie for the same conclusion…

The erotic and the pornographic do not vie for the same conclusion…

I want to propose the erotic, one of the uses of the erotic, as a kind of radical formalism, a surrender to and infiltration of phenomenology, for which poetry is the ideal medium.

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Heather Lang on Gregory Robinson

Heather Lang on Gregory Robinson

American Aristocracy, Triangle Film Corporation, 1916 by Heather Lang The other world is ours, yours and mine, this hazy kingdom of silent film and forgotten Polaroids. – Gregory Robinson The quiet associations between silent movies and prose poems within Gregory Robinson’s unique book, All Movies Love the Moon, are...

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Robyn Ferrell on Julia Margaret Cameron

Robyn Ferrell on Julia Margaret Cameron

The rise of a woman photographer with the advent of photography and of women’s emancipation presents an irresistible moment of reflection.

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Goya With Doctor Arrieta

Goya With Doctor Arrieta

The last room of the exhibition gathers together portraits of friends and exiles done in Bordeaux, and puts at the centre the masterpiece Goya painted in 1820, Self-Portrait with Doctor Arrieta. It is the show’s most daunting moment.

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Many parents feared the necronym was a murderous curse…

Many parents feared the necronym was a murderous curse…

Parsed from the Greek, necronym literally translates as “death name.” It usually means a name shared with a dead sibling.

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Student Pilot 3000

Student Pilot 3000

Futurama frequently presents Fry as useless and undesirable; the series goes out of its way to make sure we understand this point: he’s only got one set of clothes; he loses his teeth from drinking too much Slurm; he is his own grandfather; he can’t kill the last ship...

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Teresa K. Miller and Gregory Giles Discuss Agnès Varda

Teresa K. Miller and Gregory Giles Discuss Agnès Varda

Gnomish Agnès Varda, with her mushroom cap of hair dyed the color of a dark, ripe cherry, with her visual groaners—she operates in the spirit of happenstance, fearless of mockery.

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Why do artists make stuff?

Why do artists make stuff?

Why do artists make stuff if the familiar criteria of success or failure in the domain of manufacture are not dispositive when it comes to art? Why are artists so bent on making stuff? To what end?

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Rising High

Rising High

The screenwriter and director Bruce Robinson, best known for The Killing Fields and Withnail & I, really went to town on the Freudian view of High-Rise in his little-known 1979 script, which he subtitled An Analogy.

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Stanimir Panayotov on Oleg Mavromatti

Stanimir Panayotov on Oleg Mavromatti

Where No Place for Fools leaves no room for fools, it pries open the space for the fool’s room, his contemporary cell: the camera.

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Teresa K. Miller and Gregory Giles Discuss Luc Moullet

Teresa K. Miller and Gregory Giles Discuss Luc Moullet

To begin at the end: After nearly two hours exploring facets of exploitation in the globalized food system, Luc Moullet closes Genèse d’un repas/Origins of a Meal (1978) by turning the camera on himself.

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Nicholas Rombes on Wes Craven

Nicholas Rombes on Wes Craven

Wes Craven’s movies were about movies, even when they weren’t. And in this sense they helped bring cinema back to its self-reflective origins.

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