The temporality of the real unbinding of the poverty-rabble follows a logic of eternity because at no time can the poor rabble re-enter legal and statist contexts if the possibility of accumulating property has also been lost. Its time is eternity because only the poverty-rabble presents the paradigm of absolute and complete unbinding.
During a period of exuberance and uncertainty, a group of artists and critics grow into new ideals and ways of thinking, as the old forms are no longer satisfying.
During a period of exuberance and uncertainty, a group of artists and critics grow into new ideals and ways of thinking, as the old forms are no longer satisfying.
During a period of exuberance and uncertainty, a group of artists and critics grow into new ideals and ways of thinking, as the old forms are no longer satisfying.
During a period of exuberance and uncertainty, a group of artists and critics grow into new ideals and ways of thinking, as the old forms are no longer satisfying.
During a period of exuberance and uncertainty, a group of artists and critics grow into new ideals and ways of thinking, as the old forms are no longer satisfying.
The temporality of the real unbinding of the poverty-rabble follows a logic of eternity because at no time can the poor rabble re-enter legal and statist contexts if the possibility of accumulating property has also been lost. Its time is eternity because only the poverty-rabble presents the paradigm of absolute and complete unbinding.
The tranquility of this film stretches the information of frames into the rays of a new sun, and desaturate and increase the contrast of frames to conjure up new stars.
The tranquility of this film stretches the information of frames into the rays of a new sun, and desaturate and increase the contrast of frames to conjure up new stars.
After school the debt remains. But knowledge has always preceded it and will surely outlast it. This claim continues to prove itself with the tranquility of Fare Well (2012)) —which stretch the information of frames into the rays of a new sun, and desaturate and increase the contrast of frames to conjure up new stars
After school the debt remains. But knowledge has always preceded it and will surely outlast it. This claim continues to prove itself with the tranquility of Fare Well (2012)) —which stretch the information of frames into the rays of a new sun, and desaturate and increase the contrast of frames to conjure up new stars
The clean 16mm image is processed normally in a lab. Outdated film stock from the 1980s-90s which Peter Mettler recently gave Philip Hoffman accounts for superimpositions. The tinting and toning was done via 'green' processing with flowers. The shooting and hand developing with flowers was done by Hoffman. It was scanned and then digitally edited by Isiah Medina.
The clean 16mm image is processed normally in a lab, but the tinting and toning was done via 'green' processing with flowers. The shooting and hand developing with flowers was done by Philip Hoffman. It was scanned and then digitally edited by Isiah Medina.
clipping, noise, and other distortions are encounters with the threshold of photographic realism. the inner-workings of the systems we employ to generate adequate representations of the world become represented themselves in their failure - Isaac Goes
The American Woman is a short film about a man who constantly goes to the movies in search of a woman who he had an affair with. It is the story of a man who has difficulties making the difference between reality and fiction. Has he fallen in love with reality or fiction? The man loses him self in the world of cinema.
vulture sets its sights on farm animals, their surrounding flora, and the farming process. Static shots and slow-moving zooms follow the grazing animals in their minute inter-species exchanges. When left to roam together, the sensibilities of these "beasts" are allowed to surface.
An old building in Venice hosts an exhibition. A visitor walks through empty rooms discovering a fictionalized architectural space that functions like an abandoned theatre set. Inspired by Alexander Kluge’s oeuvre, this exploration attempts to de-construct the subjective experience and liberate the cinematic energy from the horror vacui of the display.
Trees, farm fields with animal livestock, ponds and plants, and natural artefacts disappear in the flicker effect of landscape compositions where sweeping branches carve moving structures into the viewer’s memory, and the transformations of living image threads remind us of the inexhaustible visual exuberance of meadows and grain.