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Farewell 2011

Saturday, December 31, 2011

Peter Foolen – 2012 / After Thomas A Clark




Happy New Year

David Bellingham – 2012


2011 Review Roundup

This is a spot for me to throw quick thoughts on the movies I've seen or will be seeing over the next few days that I don't have time to write full on reviews for. Just something I can link to in the lists that will be coming fast and furious at the start of the new year. Full reviews of all these movies will follow, but for now, you'll have to make do with this.

Warning: There's a lot of raving in this post!

The Muppets

The world is full of cynicism, so much so that you start to have trouble finding the simple pleasures in life. Thankfully, the Muppets have returned, and none of that cynicism seems to have affected them. The only thing they are still interested in is bringing joy to the audiences. Boy, do they succeed!







Green Lantern

If I had a power ring like the one's featured in this movie, I would imagine a cross, and then I would crucify this piece of garbage! This film is one of the worst thing to happen to the superhero genre since Batman and Robin!







Tinker Tailor Soldier Spy

In an age dominated by the Bonds and the Mission Impossibles, seeing a spy film that eschews whiz-bang action in favor of tense espionage and investigation is a real treat. Though it starts off slow, it really delivers, and God Damn! Can someone please just give Gary Oldman and Oscar already? Please?







Midnight In Paris

I've never been a big fan of Woody Allen. Haven't seen Annie Hall or Manhattan, and I haven't dug his last few films, but Midnight in Paris was a joy to watch. Biting humor, a good message, and superb acting from the gifted ensemble is all excellent, but Marion Cotillard... Marion... sorry, what?






The Adventures of Tintin

It's the Indiana Jones movie that Indiana Jones and the Kingdom of the Crystal Skull should have been! Superb action! Great humor! Beautiful to look at! Spielberg has proven that he still has it when it comes to big, exciting, blockbuster entertainment.






The Artist

ONE!!! OF!!! THE!!! BEST!!! DAMN!!! THINGS!!! OF!!! THE!!! YEAR!!!

ON A WHOLE NEW LEVEL!!!


Shame

I don't know. I really don't. It's very good, and Michael Fassbender is fantastic in it. But I have no desire to see this film ever again. It's that depressing. I don't even know what grade I should give it. Decisions, decisions.

???

Still to come, War Horse, The Descendants, and whatever else I feel like.

Roger Ackling – Sunlight on wood 2009/2011

Friday, December 30, 2011




Roger Ackling
Sunlight on wood 2009/2011

8 January – 21 February 2012

Galerie Josine Bokhoven
Prinsengracht 154
1016 HA Amsterdam

Hey! Guess What!

Monday, December 26, 2011

I'M 20!!!!

YEEEEEAAAAAHHHHHHhhhh... oh, wait...

Nothing special happens at 20.

Oh well.

Dance for me, JoGo!!!

Merry Christmas, Bitches!!!

Sunday, December 25, 2011

Masticate on this!



You're welcome!

Less Elementary Than Was Hoped For

Friday, December 23, 2011

I'm smart. Well, sort of. I mean, I do well in class, can usually communicate in clever ways with my peers, and am probably a little too self-congratulatory when it comes to my ideas for scripts. But, in no way am I smart enough to be a detective, and in no way am as smart as Sherlock Holmes. The character created by Sir Arthur Conan Doyle makes most modern day man, and women, come to think of it, look like bumbling buffoons. And if this modern day version of Holmes is to be taken seriously as a faithful interpretation of the character, he will kick your ass, drink you under the table, and be completely helpless when it comes to bromance. Sherlock Holmes: A Game of Shadows, in addition to having a title that I regret to admit I confuse with Game of Thrones, is a bigger, louder, more grandiose film than it's predecessor, and while it does do some things well, it does enough wrong and repeats enough of the mistakes from the first one to not warrant a full recommendation. Like the last one, it is still a lot of fun, but not much else.

Extreme Bromance!

With Watson literally hours away from sealing the deal with his lovely bride, Holmes is embroiled in the "most important case of [his] career". A series of bombings has been ripping their way through Europe, and France and Germany are at each other's throats. War is about to break out, and the downfall of western civilization is imminent. Holmes has deducted that all this mayhem is the handiwork of one, Professor James Moriarty, a man with seemingly limitless resources, a hand in every major, worldwide industry, and the only man who can match, if not surpass, Holmes' intellect. Now, Holmes and Watson are sent on a mad chase across Europe as they, with the aid of an enigmatic gypsy, race to stop Moriarty before his maniacal plans come to fruition.

First of all, the plot and overall conflict here is much more interesting than the occult bullshit from the last one. Moriarty is really good villain for Holmes to tangle with, and while the plot does allow for them to watch wits, it spends too much time on elaborate action sequences than any real sort of character development. That's not to say that there isn't character development. There are attempts to flesh out Holme's and Watson's relationship, but it doesn't come off as anything more than forced. The witty banter between the two is nowhere near as prevalent as it was in the first, and that's kind of a drag. It was a real pleasure hearing these two bicker and "flirt" all over the place, and there's actually not a whole lot of that. It all moves along at a decent place, and wraps all very conveniently, but it's nothing all that compelling or interesting. Moriarty is a good villain, but his evil plot is bland and nothing we haven't seen before.

Robert Downey Jr. and Jude Law return as Holmes and Watson respectively. Their chemistry is just as good as it was in the last one, even if they don't have as much banter material to work with. Individually though, Downey Jr. falters a bit where Watson succeeds. Since the film tries more to explore the relationship between these two, it calls for more dramatic chops, chops that Law has honed better than Downey Jr.. As it turns out, Downey Jr.'s Holmes doesn't come off quite as charming and fun in this sequel, instead coming off, at times, a little mean and cold here. Law, on the other hand, does very well, bringing a lot of warmth to this relationship.

Noomi Rapace plays the gypsy with a card to play, Sim. Rapace is a good actress, but she is completely wasted here. Her character serves, literally, no purpose, save to provide supposed stakes in the conflict. See, her brother is working with Moriarty, but the film never explores how Sim feels about that. Poor, poor Lisbeth. She deserves better.

Excuse me. Hi. I'm special!

Luckily, the villain is top tier! Jared Harris of Mad Men takes his swell time with the role, effectively creating a intimidating and dangerous devil. Mark Strong in the first film did all right, but the film made the mistake of having him and Holmes fight it out with fists and weapons. In A Game of Shadows, it's the exact opposite. Holmes and Moriarty never, throughout the whole run, come to blows. Instead, their confrontations usually involve the two of them staring each other down over a table, and at one point, a chess board. Battles of wills, and that's exactly what it should be. Holmes does enough fighting against goons. Why should he have to do the same with someone who is his intellectual equal? He shouldn't, and the film wisely stays away from that. The battle of wills in this movie are very well done, thanks in no small part to Harris' performance.

That's not to say that there isn't action. There is a crap ton! Too much, if you ask me! There are whole sections where there is nothing but bullets, fists, and explosions. Director Guy Ritchie can direct action. Though Game of Shadows doesn't have the blood drenched grace of Tarsem Singh's Immortals or the over the top, gravity defying aplomb of Brad Bird's Mission Impossible: Ghost Protocol, Ritchie does manage to bring in some interesting touches, namely a good amount of well done slo-mo. Though the first few action scenes aren't any special, just hyper energetic punching bouts, the big one is something to behold. The pay off is the mad dash through a forest under a hail of motor and artillery fire that has been featured pretty heavily in the marketing. The build up is a slow burn, sneak into a building and see what's going on, type thing. Stuff gradually escalates, and then it turns into an all out war. The aforementioned pay off is awesome, a elegant, well made, ballet of flame and noise... with liberal amounts of slo-mo.

But that's the only scene worth mentioning. All the other action set pieces are lame by comparison. And, being that the overall conflict isn't that interesting, the movie is actually quite a snooze. The first Sherlock Holmes wasn't anything groundbreaking, but it was never boring. There are good things here. The villain is really good; the big action set piece really delivers, and, for some reason, I liked how Holmes and Watson actually get wounded and display bruises, cuts, and the like for most of the film. They actually look like they got the shit kicked out of them. Dunno, but that was a nice touch. But, everything else is just not worth your time. There's really nothing here that wasn't already in the first one. It doesn't get a condemnation from me, but it doesn't get a full recommendation either. Just the middle ground. And that's just stupid!



POST #500!!!!: Blacker Than The Blackest Black Times Infinity

Thursday, December 22, 2011

500 posts!!! Ma Ha Nei Bu, Eebowai!!!
...
That's a Book of Mormon reference! Look it up!

Anyway, to commemorate this, the 500th post on Films From the Supermassive Black Hole, here's a review of The Girl With the Dragon Tattoo.

Last year, I named Let Me In my favorite movie of the year. And you can imagine the comments I got on that one. I stick by it though. I think Let Me In is a wonderful movie, and superior to Let The Right One In. Part of my sentiment came from the fact that I saw Let Me In before Let The Right One In, so the story, characters, and motifs were all new to me. And now, in 2011, I find myself in the exact same position with The Girl With the Dragon Tattoo. I know, it's kind of unforgivable that a movie nut like myself hasn't seen the Swedish versions of Steig Larsson's Millennium Trilogy yet or read the books, and I don't really have an excuse; I'll get around to it eventually. But, this approach, I think, offers me a unique viewpoint from my contemporaries. Rather than judging the film based on how well it adapts the book, or how it holds up against the other version, I can just sit back and critique the film purely on it's own merits. And let me tell you, this American version of The Girl With the Dragon Tattoo is incredible!

Setting the standard of not to be messed with!


Following a deliciously demonic opening credit sequence, we are introduced to Mikael Blomkvist. He is a journalist for the Swedish magazine, Millennium. Following a lawsuit that leaves him disgraced and with no money, Blomkvist accepts an offer from one, Henrik Vanger, to investigate the decades old disappearance of Vanger's neice, Harriet. As he digs deep in the twisted and disturbing history of the Vanger's, Blomkvist soon finds himself in need of help. Enter Lisbeth Salander, a brilliant but odd computer hacker and investigator. She is down on her luck, as her state appointed guardian has just suffered a stroke, leaving her with a new guardian, who turns out to be a sadistic rapist. She agrees to help Blomkvist in his investigation, and together, they uncover a decades old trail of murder, misogyny and corruption, a trail that could claim the both them as it's next victims.

First and foremost, this movie is DARK! Like, seriously DARK! Like, claw at your face and crap your pants DARK! Everything about it, from the visuals, the score, and especially the subject matter, is drenched in foreboding, violence, and suspense. Steig Larsson's books are known for their controversial content, and this adaptation doesn't shy away from it at all. Instead, it elegantly lays out the investigation in ways that only the best detective thrillers can, in addition to including the images of murder, rape, and torture. Coming from the perspective of having never read the book or seen the Swedish film, I was left guessing until the very end who the culprit was and how far reaching his crimes were. While the reveal wasn't a complete shock, it really paid off, thanks in no small part to the slow burn build up. The script moves along at a consistent pace, keeping you on edge for the entire 2 hours and 38 minute run time. Yeah, this movie's epically long, but it sure as hell didn't feel it.

Now, I am aware that there was a campaign to have Noomi Rapace reprise her role as the titular girl for this one, and for all we know, she would have done a good job. I, however, am very happy she did not. Not because I think she would have done that much worse a job, it's because Rooney Mara does that much better a job. I've seen Mara in things before, from Nightmare on Elm Street to Fincher's own The Social Network, and in those she has played relatively innocent, teenage, women. Lisbeth Salander could not a be a bigger, nor more welcome, change of pace. Mara is friggin' incredible in the role, embodying all the traits that we assume of the character. The "don't take shit from anyone, especially men" mentality, the borderline sociopathy, and the overall strength and badassness that Larsson instilled in her. But she also finds the emotional side to Salander, imbuing the character with undertones of warmth that I honestly did not expect. When it comes to star making roles as of late, no one directs them better than Fincher, and no one has performed better than Mara.

Daniel Craig dials back the charm and piles on grizzle for Blomkvist. It is nice to see Craig in a role that requires a good deal more than fist-i-cuffs and rock hard abs, and he performs admirably. He displays a winning chemistry with Mara, doing his part in creating a believable partnership. Indeed, in a movie this cold, their relationship provides some of the few warm moments. On his own though, Craig is more than capable of carrying the film, and easily adds another compelling and well performed character to his resume.

I know you don't like the coffee, but come on! Work with me here!

Christopher Plummer does excellent work as Henrik Vanger, and Stellan Skarsgård does very well as Martin Vanger, whose motivations are never quite clear. Robin Wright does well in her small role as Blomkvist's co-editor, with whom he is having an affair.

Special mention must be given to Yorick van Wageningen as Bjurman, Salander's sadistic guardian, for he fearless performance. Anyone who's read the book or seen the Swedish version know what happens, and the scene is a skin crawling, traumatizing experience. Wageningen himself was so traumatized from shooting that scene, that he spent a whole day afterwards crying in his hotel room. Good on him!

Speaking of that one scene; it is only one in a veritable ocean of violence, torture, bloodshed, and other, incredibly disturbing elements. There's a torture that occurs about halfway through that is sooooo intense, it almost becomes unbearable. As Blomkvist and Salander continue to investigate, the things they begin to uncover are so heinous and stomach churning, you just have to applaud the characters for sticking with it. And the confrontation of murderer in the end is incredibly tense and violent. Also... well, let's just say that something awful happens to a certain domestic animal. The film's being touted as the feel bad movie of christmas, and by God does it earn that tagline.

And I would not have it any other way! As of late, David Fincher has been delving into more, dare I say, friendly territory. The Curious Case of Benjamin Button was about as far from Fight Club as you could get while still having Brad Pitt as your star, and The Social Network is, to my knowledge, the only Fincher film that doesn't have a dead body somewhere. And I have no problem. I love The Social Network, and I like Benjamin Button. But my favorite Fincher films are the ones that delve into absurdly dark and violent territory, with the cream of the crop, in my opinion, being the ones that deal specifically with serial killers. Se7en and Zodiac are masterpieces of their time, and everything that made those movies great, from the unbearable sense of menace, to the cold and unfeeling color palette, to the bursts of quick but extremely brutal violence, is here, and better than ever. Like a certain blogging friend of mine, I have to wonder how the film would look in black and white.

And then there's the music. Trent Reznor and Atticus Ross, hot off their Oscar win for The Social Network, return, and their restrained, menacing sound is even more at home here than it was with Mark Zuckerberg. The music swells at all the right moments, adding atmosphere and tension to the scenes, but never overpowering them. It's in the background, never letting on what the audience should be feeling at any given moment. It's window dressing, but it's damn nice window dressing.

Also, the cover of Immigrant Song just will not get old!

I really friggin' loved this movie. This time of year is defined by dumb action movies,  and overly sentimental family fare. So, it's a real pleasure to see a film aimed hardcore at adults, especially one that looks poised to be a big hit. Thanks to the efforts of everyone involved, from Reznor and Ross's brilliant music, to Fincher's unique and memorable direction, to the performances, capped off by live wire, star making performance from Rooney Mara, The Girl With the Dragon Tattoo is one film you should not miss. Feel bad movies shouldn't be this good!

ON A WHOLE NEW LEVEL!!!

Trailer Trash: The Dark Knight Rises

Tuesday, December 20, 2011

It's time to root through some trailers. What sorts of wonderful things will be alluded to today?

So, this one is gonna be two fold, as I had the good fortune to see the 6-minute prologue in front of Mission Impossible: Ghost Protocol this weekend, in addition to see the trailer that came out yesterday.

First off, the prologue. SPOILERS!!!

Much like the Dark Knight sequence that was shown before I Am Legend, depicting the Joker's opening bank robbery, the prologue to TDKR introduces to Bane, and the force that he is. Also starring Aiden Gillen, the sequence shows Bane as he hijacks a plane in order to kidnap a Russian scientist. This involves thrilling, practically made, aerial stunts and chaos. Bane is a ruthless adversary, savagely beating his foes, and having the plane dragged through the air by... another, bigger plane.

The sequence is so full of "HELL YEAH" moments, and looks awesome in IMAX. Christopher Nolan has proved that he can shoot IMAX action, and he looks to be pulling out all the stops for his final foray with Batman. If there's something bad to say about the sequence, if you can call it a bad thing, it's that I couldn't really understand what Bane was saying. I got that everything he was saying is very important, but the combination of the vocal choices by Tom Hardy, coupled with the mask... well, anyway. It was difficult to pick up what he was saying. Here's hoping Nolan and crew fix the audio, cuz then there'll be no problem.

The footage ended with a sizzle reel, showing off all the other characters, most of which made it into the new trailer. Speaking of which...

Love it! While it didn't make quite as a big an impression on me as the Dark Knight trailer revealing the Joker, it's still awesome. While I don't really understand how the League of Shadows comes into play, or how Bane facilitates it all, it seems that there's an undertone of class inequality to this one, with Selina Kyle's cryptic dialogue, and all the scenes of that posh masquerade.

Crazy things happen in this trailer. Tumblers scream down the streets. Explosions are everywhere. Massive riots erupt. Batman has an aircraft. And Bane kills a football team by... blowing up the field. AWESOME!! Also, JoGo's in it. Can this movie just happen already?

Also, I think I've figured out what Marion Cotillard's character is all about. Won't tell you about it here, lest I bring the wrath of the nerds down on me. Want to talk? You know where to find me.

Alan Charlton – La Tourette / Modulations




on occasion of the exhibition
Le Corbusier / Alan Charlton, 10 September – 6 November 2011, at Couvent de la Tourette
in Éveux-l'Arbresle, France (www.couventdelatourette.fr)
is published in September 2011:
George Dupin – Le Corbusier / Alan Charlton, La Tourette / Modulations, published by Bernard Chauveau, Éditeur, Paris.
24 x 30 cm, 112 pages, isbn 9782363060099
also is a special edition published with a signed and numbered silkscreen Alan Charlton – Line, 72 x 31,5 cm, edition of 35 copies

RUN, TOM CRUISE! RUN!

Monday, December 19, 2011

There's no excuse. I'm not gonna talk about it. I'm back. Let's leave it at that!

So, if there was a trend that I could put my thumb on for this cinematic year, it would odd yet interesting choices for the director of a big budget action movie. We had Kenneth Branagh, bringing his larger than life and Shakespearian Thor. We had Tarsem Singh, infusing gonzo violence with high art in Immortals. And now, we have Brad Bird, the man behind such animation classics as The Iron Giant, The Incredibles, and Ratatouille. What's he directing? Mission Impossible: Ghost Protocol, the first M.I. movie since JJ Abrams reinvigorated the series five years ago. Abrams returns as a producer, but the main point of interest is seeing how Bird, fresh to the live action style, fares. And while Ghost Protocol fails where all other Mission Impossible movies have usually failed (lack of interesting plot, a main character who doesn't grow, and an over reliance on action set pieces over espionage), it does manage to showcase that Bird definitely has the chops to make in the live action world. M.I.G.P is tightly paced, very tense, with a ton of great action and set pieces, and a sensational use of IMAX format. It's not setting the world on fire anytime soon, but for holiday thrills, this one more than suffices.

Just chilling. Waiting for the mothership...


Ethan Hunt and crew are back at it again, going around the world, saving it from crazy people with crazy plans. All's hunky dory, until a routine op goes terribly wrong, and the Kremlin is blown up, and as far a failures go, having the center of Russian authority go up in flames is pretty much the worst you can do. IMF is slapped with the blame, and Ethan and his whole team are disavowed as the President initiates ghost protocol. So, Ethan and his team, without any backup or help, set out to discover who set them up and why. This leads them all around the world as they try and stop a nuclear extremist from, you guessed it, blowing up some nukes.

Now, on paper, that sounds pretty cool. Mixing up the formula and having Ethan go at it with nothing more than his brains and brawn would be a nice change of pace, one that would bring a more cerebral feel to this traditionally one note franchise. Unfortunately, even though the entire IMF has been shut down, Ethan and his team still seem to have limitless resources, accessing the latest technology, chartering jets like nobody's business, and always looking so incredibly dapper. Like, seriously! Those suits can't be cheap! So, the whole idea of completing the mission with nothing more than a toothpick and a cool pair of shades is, at the most, hinted at, and nothing more.

There's also attempts to explore the character of Ethan, and it works about as well as it has in the other three movies. That is to say, not at all! The villain is lackluster, especially when he has to follow the great work that Philip Seymour Hoffman did in the third one. And none of the other characters, with one exception, really say or so do anything all that interesting.

Tom Cruise returns to his iconic role, and does about the same he always does. Not bad. Not exceptional, but not anything to hate on. I will say that his chemistry with his team is the best it's ever been, but that could have more to do with them and not so much with him, but whatever. Give credit where credit is due.

Jeremy Renner and Paula Patton are the new additions to the franchise. Patton doesn't do much of anything outside of the realm of, "look hot and kick ass" but she does it quite well, so... yeah. Renner on the other hand is given a lot to do. This may have something to do with the rumors that he will inherit the franchise, but regardless, his is the most interesting character, with the most compelling arc. I wish Ethan was as interesting, but you can't have everything in life.

Other players include Josh Holloway in bit part as an unfortunate IMF agent, and Michael Nyqvist is underwhelming as the villain. In reality, the guy who steals the show is Simon Pegg as the team's quirky tech whiz. He's the source of most of the humor, and, since he's Simon Pegg, he really delivers.

Now, this is some guy's fantasy!

But, lack of interesting plot and characters aside, I have to say this is probably my favorite Mission Impossible movie to date. The first one was way too slow paced for me. The second one was too stupid and had too many doves. The third, while certainly the best up to that point, tried to hard to bring out some emotion and focused too much on Ethan's married life. Ugh. Here, the action is center stage, and it is incredible. Though he gained his stripes in animation, Mr. Bird knows how to direct action and how to stage set pieces. A multi layered sequence that has Ethan scaling the side of building while the rest of the team races to intercept multiple targets would be thrilling by itself. Toss in the inclusion of a slowly approaching sandstorm, and you have action movie gold.

That sequence is the stand out of the three big ones. The first takes place at the Kremlin, and is more of a tense "sneak in, sneak out, BOOM" type thing, while the third takes place in India and is all running and punching and doing crazy things with cars. But neither of those reaches the lofty heights that the middle sequence does.

You probably all saw the trailers, so you know of those shots that show Ethan clutching the side of an enormous skyscraper, but you haven't seen it unless you've seen it on IMAX. Let me tell you, you need to see the spend the extra money for this one. This movie demands IMAX. The sequences are so epic and well put together that to see it any other format would just be criminal.

Ok, fine. The main I reason I saw it in IMAX was to see the Dark Knight Rises prologue, but the movie is absolutely worth seeing in the format, even though the TDKR prologue is soooo full of all kids of HELL YEAH, and... ok, sorry. I'll talk about that tomorrow.

Awards won't be coming in, and you won't leave the theatre in tears or reeling at the emotion on screen. There is no emotion on screen. Mission Impossible: Ghost Protocol is a largely soulless endeavor. But, technically, it is astounding. Props to Bird and his team for crafting one of, if not the most thrilling action flick of the year. See it in IMAX. This review will self-destruct in 5... 4... 3...



Peter Liversidge – installation views, Sean Kelly NY





images ©2011, Peter Liversidge, Sean Kelly NY, photographs by Jason Wyche
Peter Liversidge – Will History Be Kind, 2011, powder coated steel and bulbs
Peter Liversidge – Shelf with Wooden Mail Objects, 2011

Poets for the Millenium – Ian Hamilton Finlay



Ian Hamilton Finlay
Selections
Edited and with an introduction by Alec Finlay
A book with selected writings of Ian Hamilton Finlay, to be published in March 2012 by University of California Press, Berkeley, CA, as part of the series Poets for the Millenium.

available at Amazon and University of California Press
£ 16,95 (paperback, isbn 9780520270596) / £ 41,95 (hardcover, isbn 9780520270589)


Concept Space, Japan – Open Eyes = Open Mind

Friday, December 16, 2011


Hamish Fulton – A 31 Day Road Walking Journey

Wednesday, December 14, 2011



Hamish Fulton
A 31 Day Road Walking Journey

a new print by Hamish Fulton published by Peter Foolen Editions, December 2012
Archival pigment print on Hahnemühle Photo Rag 308 gs
16,6 x 42,9 cm
edition of 20 copies, signed and numbered

price on request

Hamish Fulton – 3 Forthcoming Exhibitions


Hamish Fulton
Walk
17 January – 7 May 2012
Turner Contemporary
Rendezvous
Margate
Kent CT9 1HG
England, UK

Hamish Fulton
Walk
15 February – 22 April 2012
Ikon Gallery
1 Oozells Square
Brindleyplace
Birmingham B1 2HS
England, UK

Hamish Fulton
19 January – 26 February 2012
Galleri Riis Stockholm
Rödbodtorget 2
SE-11152 Stockholm
Sweden

Paul van Dijk – Huis Marseille

Tuesday, December 13, 2011





artist book Paul van Dijk, published by Peter Foolen Editions, is chosen among 20 photography books from 2011 to be part of Photography Books Marathon at Huis Marseille.

18 December 2011, 10.30am – 7pm

Huis Marseille – Museum for Photography
Keizersgracht 401
1016 EK Amsterdam

participants
Inge van Iersel, Heidi de Gier, Eline Baggen, Johan Nieuwenhuize, Adam Etmanski, Lotte Reimann, Guus Kaandorp, Karianne Bueno, Isabelle Wenzel, Paul van Dijk, Jan Dirk van der Burg, Bas Princen, Harald Strak, Erik Klein Wolterink, Siebe Swart, Isabelle Rozendaal, Marco Van Duyvendijk, Bertien van Manen, Ringel Goslinga, Paul Kooiker

On this day of the Photography Books Marathon these publications will be available and the participating photographers will give a short talk about their work and book.
Paul van Dijk will give a talk at 12.30
See for complete programme: www.huismarseille.nl

Roger Ackling – Voewood 1999



Roger Ackling – Voewood 1999
sunlight on wood, detail

Coracle at Dezember Bücher, Zürich



Coracle

18 December 2011

at
Dezember Bücher
Bleicherweg 21
8002 Zürich
Switzerland
www.dezemberbuecher.ch


Charlton – Rückriem – Toroni

Tuesday, December 6, 2011




Alan Charlton – Ulrich Rückriem – Niele Toroni

Traiettorie Dell'Equilibrio
13 december 2011 – 22 February 2012

A Arte Studio Invernizzi
Via D. Scarlatti 12
20124 Milano

a catalogue will be published
images invitation card
photograph © 2011, A Arte Studio Invernizzi, Milano


Peter Liversidge – Post Card

Monday, December 5, 2011




Peter Liversidge, received 5 December 2011

Peter Liversidge – Mail Objects 2009 – 2011



Peter Liversidge – mail objects, send from London, Tiree, Helsinki and New York, 2009 – 2011
photograph PF, 5.12.2011

Peter Liversidge – Where We Begin / Sean Kelly NY

Sunday, December 4, 2011



Sean Kelly Gallery is delighted to announce the opening of Peter Liversidge’s new exhibition, Where We Begin. The opening will take place on Thursday, December 8th, from 6pm until 8pm. The artist will be present.


Where We Begin will be Liversidge’s premiere exhibition with the gallery. From the earliest stages of his career, the genesis of Liversidge’s creative process has been the conceptually-based practice of developing proposals for artworks across a wide range of mediums, including performance, drawing, photography, video and neon. Liversidge types his proposals on an old, manual typewriter; complete with typographical errors and handwritten annotations, the proposals for Where We Begin describe ideas from the practical to the purely hypothetical, which, when viewed in totality, create a unique narrative specifically related to the forthcoming exhibition and the beginning of his relationship with the gallery.


While all of the proposals for Where We Begin will be displayed in the exhibition, the artist has chosen to realize only a select group. In many cases, these realized proposals relate to found objects that Liversidge encountered on his recent visits to New York. Banal, everyday materials are repurposed for his use, in this case stripped of their original intent by being re-made in materials most often associated with fine art: a stack of old tractor tires found on the roadside in upstate New York will be shown as a classical marble sculpture; small twigs from a tree that fell near the artist during a morning walk in Soho will be cast in aluminum; and a commercially-available help wanted sign – found at a local five and dime – will be enlarged to five times its normal size and screen printed on aluminum.


Liversidge’s work often requires the presence of the viewer and their unique interpretation of the proposals to complete the aesthetic experience. The artist’s active engagement with each space and community for which he creates proposals is at the center of his varied and dynamic practice. In one such work for the exhibition, Liversidge has invited the gallery’s postal carrier to create an arrangement of found objects – rulers, t-squares and protractors, among others – that the artist has sent through the mail from London. The arrangement of these objects, displayed on a shelf in the exhibition, will be at the sole discretion of the mail carrier and can be rearranged by her during the course of the show as she sees fit. Other proposed performative actions will take place throughout the duration of the exhibition, some involving gallery staff and others requiring the participation of professional musicians such as Elizabeth Mitchell, who will perform in the gallery on the afternoon of December 17th. Visitors to Where We Begin are also invited to participate in the exhibition by creating artworks through actions outlined by Liversidge within the proposals.


Liversidge has worked with a diverse range of institutions, including the Tate Liverpool in 2008, the Centre d’art Santa Mònica, Barcelona, in 2008, Bloomberg SPACE, London, in 2009 and the Scottish National Gallery of Modern Art, Edinburgh, in 2010. He has also developed projects for the Europalia Festival, Brussels, in 2007, Art Basel Miami Beach in 2009 and Edinburgh’s sculpture park, Jupiter Artland, also in 2009. Upcoming exhibitions include Travelling Light, Whitechapel Gallery, London, December 2011 through February 2012 and Proposals for Helsinki at Kiasma Museum of Contemporary Art, Helsinki, in 2012.


A catalogue containing the complete set of proposals for Where We Begin will accompany the exhibition and will be available for sale. For press inquiries, please contact Maureen Bray at 212.239.1181 or maureen@skny.com for more information. For sales inquiries, please contact Lauren Kelly at 212.239.1181 or lauren@skny.com. Gallery hours are Tuesday through Friday from 11am until 6pm and Saturday 10am until 6pm. Please check the gallery website for holiday hours.

Press release Sean Kelly Gallery, NY, December 2011


Peter Liversidge

Where We Begin

9 December 2011 – 28 January 2012

Sean Kelly Gallery
528 West 29th Street
New York, NY 1001

image © 2011, Peter Liversidge, Sean Kelly, NY


Peter Liversidge – Q & A Paddle8


http://www.paddle8.com/blog/2011/11/30/guest-contributor-qa-with-peter-foolen-peter-liversidges-pen-pal/

Alan Charlton – Galerie Tschudi, Zuoz



Alan Charlton
Triangle Paintings

23 December 2011 – 10 March 2012

Galerie Tschudi
Chesa Madalena
Somvih 115
7524 Zuoz
Switzerland

at the same time there is the exhibition Distant Voices by Su-Mei Tse at Galerie Tschudi Zuoz

Graham Rich – Crossing Lyme Bay

Wednesday, November 30, 2011



Graham Rich
Crossing Lyme Bay

7 – 23 December 2011

The Fine Art Society
148 New Bond Street
London W1S 2JT

image © 2011, FAS, Graham Rich – The Last Day of Summer, ø 19,5 cm

A Galaxy Full of Surprises — NGC 3621 is bulgeless but has three central black holes

Tuesday, November 29, 2011

A Galaxy Full of Surprises — NGC 3621 is bulgeless but has three central black holes

This image, from ESO’s Very Large Telescope (VLT), shows a truly remarkable galaxy known as NGC 3621. To begin with, it is a pure-disc galaxy. Like other spirals, it has a flat disc permeated by dark lanes of material and with prominent spiral arms where young stars are forming in clusters (the blue dots seen in the image). But while most spiral galaxies have a central bulge — a large group of old stars packed in a compact, spheroidal region — NGC 3621 doesn’t. In this image, it is clear that there is simply a brightening to the centre, but no actual bulge like the one in NGC 6744 (eso1118), for example.

NGC 3621 is also interesting as it is believed to have an active supermassive black hole at its centre that is engulfing matter and producing radiation. This is somewhat unusual because most of these so-called active galactic nuclei exist in galaxies with prominent bulges. In this particular case, the supermassive black hole is thought to have a relatively small mass, of around 20 000 times that of the Sun.




NGC 3621 – click for 1280×1280 image

Love Is...

Peter Liversidge – 26 November 2011

Saturday, November 26, 2011


from Peter Liversidge – Ruler No.10

Peter Liversidge – 24 November 2011

Thursday, November 24, 2011




today, 24 November 2011, a 300 mm wooden ruler from Peter Liversidge arrived with the mail

It Gets Complicated

So, I just came from a performance of War Horse in NYC.

How do I put this...

War Horse just might be the best thing I've ever seen in a theater, and that includes a children's theatre production of Babar!

It is an absolutely incredible show, with stunning imagery, beautiful performances, and full to bursting with emotion and heart. This is one that will be on my mind for the foreseeable future, and one that I will instantly recommend to anyone.

Steven Spielberg! DO! NOT! SCREW! THIS! UP!!


Trailer Trash: The Snow Whites

Tuesday, November 22, 2011

It's time to root through some trailers. What sorts of wonderful things will be alluded to today?

So, I guess the new fairy tale on the block to receive the live-action remake treatment is Snow White, as we have, not one, but two takes on the classic tale coming down the pipe.

First we have Snow White and the Hutsman, which initially looked exactly like Red Riding Hood, i.e., a teen angst fueled "interpretation" of a classic fable. While the inclusion of Kristen Stewart brings some of that in, the rest looks surprisingly well done. We have Charlize Theron playing head bitch as the Queen, and Chris Hemsworth as the titular huntsman who tracks down Snow White and apparently joins her cause. This looks to be a decent, high adventure, with plenty of battles and fantasy.



And then we have Mirror, Mirror. Uh... ok? Where to begin with this one? This looks terrible. Absolutely atrocious! Very disappointing when you consider who'd involved. It's being directed by Tarsem Singh, who just gave the highly entertaining Immortals, and stars Julia Roberts, Sean Bean, Lily Collins, Nathan Lane, and Armie Hammer. Despite all that goodness, this movie looks awful. It seems they are going for a bubbly comedy, but all the jokes here suck, big time! It's not even visually interesting, which, given Singh's involvement, is really shocking. Not looking forward to this one.



I can't believe I'm more excited for a movie starring Bella Swan than a movie staring Ned Stark, but... oh well. C'est la vie!

Beaucoup De Sang

Monday, November 21, 2011

Sweet, merciful antichrist, I have sucked this month. Well, sucked at adding stuff to this site, not sucked in general. Well, maybe that too. Depends who you ask.

ANYWAY!

What with directing a show, starting practice for swimming, course loads, obscene lack of sleep, and college night life, I have legit just forgot to write stuff. And I apologize. I'll do better... I hope.

Ok, on to the review.

I am Spartacus Theseus!


Immortals tells the story of Theseus, a warrior who suddenly finds himself the defender of all Greece against the mad king Hyperion, who has declared war on humanity. His intention is to acquire the Epirus Bow, a weapon of ridiculous power, and the only thing that can release the Titans from their prison. See, Hyperion has a bit of a beef with the gods, and wants to see them die in very bloody and satisfying ways. So Theseus, aided by an oracle who can see the future, sets off to find the bow and stop Hyperion from destroying all civilization.

Ok, the plot of this movie is pretty terrible. There's no real spark of originality or realism in it. Characters come and go willy-nilly, defy logic multiple times, and never really have anything interesting to say. The film starts off with a bang, and ends with a sonic boom, but the middle section just plods. It makes the mistake of thinking that we'll care about these broad, archetypal characters in between all the bloodletting, but doesn't really do anything to make them interesting. The plot only exists to provide context (what little there is) and to swiftly move the characters from one crazily stylized battle to the next.

Luckily, the cast is all pretty game for it. The stand out is, thankfully, Henry Cavill as Theseus. He does a good job here, conveying the necessary emotion and easily creating a character that we can, at least, sort of connect with. Even better, he kicks ass like a champion. All those who are skeptical on whether or not he'll make a good superman can shut it. He has superhero written all over him.

Freida Pinto is alright as the oracle, Phaedra, doing enough with the whole mysticism and trippy stuff to be compelling. Stephen Dorff gets a sizable role for a change, playing Theseus' companion Stavros, and he does a fine job, reminding us why Stephen Dorff needs to be in more movies.

On the Gods front, Luke Evans in perfectly serviceable as Zeus, as is Kellan Lutz as Poseidon. Isabel Lucas doesn't fare quite as well as Athena, but she is so stunning in this, it's not that big of deal. Indeed, the Gods in Immortals are probably the prettiest iterations of the deities ever committed to celluloid.

If there's one thing to gripe with on the performance front, it's Mickey Rourke as Hyperion. We know that Rourke can do villainous in his sleep, but this just isn't good. His voice never rises higher than a whisper, and while that usually is sign of villain who keeps his cool, here he just sounds tired. Also, his accent is all over the place for some reason.

Seriously! Just look at how pretty that is!

But, when a film is proudly proclaiming that it is "From the Producers of 300", you're not coming for the performances or the story. You're coming for the visuals and the blood, and boy does this film deliver on that. Director Tarsem Singh is a real master when it come to aesthetics. Every one of his films, story and acting quality aside, are absolutely gorgeous to look at, and Immortals is no exception. What you have here is a beautifully detailed vision of ancient Greece, inspired by baroque paintings, high fashion and classic architecture. Every shot is so lovingly detailed, just screaming in your face, "Look at me!" From the model pretty gods, to the costumes, to the sets, everything here is simply jaw dropping.

Colliding with all this high art is the violence. Judging by the trailers, you'd be forgiven if you thought that this was a bloodless, Clash of the Titans-esque escapade. You would not be farther from the truth. Yes, Immortals is lovingly crafted visually, and looks more like The Tree of Life than it does The Expendables, but the fact remains that this is one of the most brutal yet gleefully violent film I've seen in a hell of a long time. Oh sure, you get blood, but you also get libs flying everywhere, heads getting chopped off, guys getting split in half, guys literally getting beaten into pulp, torture, and one scene that I'm sure will leave every guy in the theatre squirming, and that's just the humans. When the Gods and Titans get in on the action... well, it's a beast all of its own by that point.

But it's good action. Rather than do what every other director does and go for the sensory overload thing, shaky cam and all that, Singh instead steps back, and frames his action so that the audience can see all the juicy details. More often than not, he'll have one super long take as Theseus effortlessly dispatches enemy after enemy. The finale is fucking awesome, and there are at least five scenes that are a thousand times cooler than any of the shit in 300. 


I like what Singh has accomplished, or at least is trying, here, essentially taking the gonzo, sword and sandals, action flicks and mixing them with an art house film. Though his stylistic sensibilities gets in the way of his story telling abilities, Immortals is something you don't see every single day. Yes it's all sound and fury, a cacophony of steel and blood, but it's a completely different cacophony of steel and blood. It fulfills the promise of all the 300 clones better than even 300 did, a hyper stylized, crazy violent romp through ancient Greece. Is there a problem with that?



 

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