An Ephemeral Caress

An Ephemeral Caress

This research paper aims to approach the cinecamera as a tangible and tactile agency through an exploration of L’Eclisse (1962) by Michelangelo Antonioni and Le Mépris (1963) by Jean-Luc Godard.     An Ephemeral Caress by Amanda Robusti   

Bodies ⎯ Matter: ecologies of death

Bodies ⎯ Matter: ecologies of death

  In 1971, experimental filmmaker Stan Brakhage made a film titled The Act Of Seeing With One’s Own Eyes. The experimental documentary consists of a 40-minute recording of an autopsy. With close-ups of open rip cages and exposed brain matter, one has a hard time...

Body, Space, and Gender in the Mixed Reality Environment of Becoming Dragon (Micha Cárdenas, 2008) – A Performance in Second Life

Body, Space, and Gender in the Mixed Reality Environment of Becoming Dragon (Micha Cárdenas, 2008) – A Performance in Second Life

In this essay, Agáta Hošnova explores the environment of mixed realities as experienced by Colombian-American trans-femme artist Micha Cárdenas in her performance Becoming Dragon (2008), which took place in an online and freely accessible virtual world, Second Life; the artist fully immersed for 365 hours during the time when she was undergoing hormone replacement therapy from male to female. In this context, digital worlds epitomise a sort of liminal space between the real world and the ‘artificially created’ online one – it is placed on the edge of the two.

Seven & New Land

Seven & New Land

Using a mixture of alternative photographic processes and analogue photography Eva Falk-Drake’s photography explores issues relating to ecology and the climate crisis.

The Roads Are Not Innocent

The Roads Are Not Innocent

Meeting at the intersection between video-essay, experimental film, and archive document The Roads Are Not Innocent deals with the manipulation of spaces by colonial powers in order to exert their control over territory.

On ‘Dear Yu Chu 玉珠’

On ‘Dear Yu Chu 玉珠’

Tackling themes of translation, absurdity, and gentrification, the single-channel video work Dear Yu Chu 玉珠 by Pei Chi Wu rigorously examines archival material and menial histories shared within a family through the lens of found letters from a second hand shop in Taiwan.

WHAT IS THE COLOUR OF WATER?

WHAT IS THE COLOUR OF WATER?

Yasmin Morgan explores the fluidity and seamlessness of water in its ‘techno-scientific’ manifestations, analysing ‘net-art’ pieces that critically engage with the use of water’s transparency as well as its blueness co-opted by tech companies, among other entities, to represent specific semantics.

NARCISSIST / MULLED WINE

NARCISSIST / MULLED WINE

“I hope people find some sort of relatability or understanding in my artwork. Perhaps in portraying my loneliness or pain to the viewer, the viewer’s own loneliness might be eased slightly. I want my paintings to call to that vulnerability inside oneself, and transform it into a force of empowerment.”

THE OVERTHINKER

THE OVERTHINKER

Referencing Rodin’s statue in the title, the photographer developed the theme in collaboration with the model – an aspiring actor struggling to stay true to his path – in order to find a sincere interpretation that could resonate with the audience.

ZEN’S PUZZLE, OR A PUZZLE OF ZEN?

ZEN’S PUZZLE, OR A PUZZLE OF ZEN?

‘Down with all hypotheses that have allowed belief in a real world.’ —— Friedrich Nietzsche. Yuhang Zhang’s takes a look at semiotics in Tomita Katusya’s ‘Tenzo’ (shown at the ‘In Focus: Tomita Katsuya’ retrospective – ICA, December 2019).

INSTITUTIONAL VIOLENCE IN FORMAL EDUCATION

INSTITUTIONAL VIOLENCE IN FORMAL EDUCATION

As part of an interdisciplinary discourse, Lara Pereira’s paper seeks cruciality in understanding rifts between people and their creations – and subsequent psychological traumas – as a result of Eurocentric institutions.