8 minutes
The primary interest in the trilogy is Joskowicz’s use of cinematic space, with long tracking shots that portray resistance to habitual viewing experiences of film and television. Video plays a role in the relation between the use of her locations and the stories of actual figures depicted as central in the frame. The meaning behind these historical icons such as Che and Cassidy, speak to their stories as itinerant figures whom traveled in a preglobalized era through borders and cultures in order to escape the law or overthrow it. The camera work, and the stylistic and formal devices such as tracking and establishing shots, create narrativistic voids that offer the transference of new political or social meanings.
Claudia Joskowicz is a video and installation artist working at the intersection of landscape, history, and memory. Her works form unsettling scenes that reimagine public and private histories of Latin American individuals and communities. Blurring the line between documentary and fiction, these works often involve violent images to bring traumas to the present, and to offer a moment of catharsis for the ones who were affected by these incidents in some way. In her works, Joskowicz intentionally gives a great amount of power and agency to the camera, reminding the viewer of their passive role in the construction of history. In this way, the artist critiques technology as a medium that easily manipulates one’s interpretation of history, controlling what gets to survive in the public collective memory. As Joskowicz’s camera wanders around the landscape, or focuses on one of the protagonists in her stories, the rest of the scene—and with it, other possible perspectives—fall into the dark, constructing yet another subjective historical narrative. It’s easy to focus on the slow movement of the camera more so than the actual event being recorded, which Joskowicz harnesses to remind her viewers that history is man-made. When texts or events are taken out of their context and technology is present to create an imaginary cinematic space, any narrative is possible.
Historically, blondeness has been a signifier for desirability and beauty, speaking to “purity” — the purity of whiteness — like no other bodily attribute except, perhaps, blue eyes...
For his project Book of Veles artist Jonas Bendiksen travelled to the small city of Veles in North Macedonia, inspired by a series of press reports starting in 2016, that revealed Veles as a major source of the fake news stories flooding Facebook and other social media sites celebrating Donald Trump and denigrating Hillary Clinton...
Got Your Back by Gisela McDaniel depicts two women of color from different ethnic backgrounds who share similar violent experiences...
Podcast 45: On Southeast Asian Film with Rithy Panh and Park Sungho | ArtsEquator Thinking and Talking about Arts and Culture in Southeast Asia ArtsEquator Viewpoints August 23, 2018 Duration: 35 mins At SeaShorts 2018 , which took place from 1 – 5 August 2018 in George Town, Penang, we caught up with Cambodian film director, screenwriter and producer Rithy Panh, and Park Sungho, programmer for S-Express Cambodia (a selection of Cambodian short films at SeaShorts), who’s also a programmer for the Cambodia International Film Festival ...
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In 2019, Ayoung Kim traveled to Mongolia to research its widespread animistic belief system towards land, mother rock, stones, and sacred caves that purify human guilt...