21 Oct 2017
Takeda
Takeda is a film about the universality of the human being seen thru the eyes of a Japanese painter that has adopted the Mexican culture.
Cézanne: Three Colours Cézanne
"Three Colours Cézanne" analyses the radical nature of Cézanne's painting, tracing its origins in the art of the nineteenth century and the work of the Old Masters while examining many of Cézanne's works in detail.
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Magritte: The False Mirror Magritte: The False Mirror 01 Jan 1970
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Jeanne is a black artist in her sixties who hasn't had the career she'd hoped for. She has fallen into a deep depression. Bitter, she is unable to communicate with her thirty-year-old daughter, whose mere presence reminds her of her failures. Will she be able to rise above her bitterness to start living again and break out of her solitude? Perhaps one day.
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The film begins with a sun materializing out of the emptiness of space. In the first of three sequences we see various images from nature against music: the sky, trees, leaves, a bird, water, sand, a beach. A little boy wanders along the beach observing the natural world around him. He walks and presently comes to a house and peers inside. The second sequence has no music. The narrator speaks of sculptor Alexander Calder and his work, as we see Calder in his workshop, cutting and creating unusual shapes, and seeing the resultant artworks. The last sequence has music as we view images of Calder's work. However, now they are intercut with images from nature so that we understand that Calder's inspiration is the natural world around him. The film ends as it began, with an image of the sun, now fading into the sky.
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“In this legendary sculpture/performance Acconci lay beneath a ramp built in the Sonnabend Gallery. Over the course of three weeks, he masturbated eight hours a day while murmuring things like, "You're pushing your cunt down on my mouth" or "You're ramming your cock down into my ass." Not only does the architectural intervention presage much of his subsequent work, but all of Acconci's fixations converge in this, the spiritual sphincter of his art. In Seedbed Acconci is the producer and the receiver of the work's pleasure. He is simultaneously public and private, making marks yet leaving little behind, and demonstrating ultra-awareness of his viewer while being in a semi-trance state.” – Jerry Saltz (via: http://www.ubu.com/film/acconci_seedbed.html)
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