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RONI HORN

EVERYWHERE DIFFERENTLY (CONDENSED)—By Andrew Maerkle
“I think of androgyny more as a multiplying than a doubling per se. I never had a strong identification with the two genders I was offered when I was growing up. I see shades of gender, degrees toward the masculine and degrees toward the feminine and everything in between. And I was somewhere in between, feeling like I had the best of both sides without being either.”

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SACHIKO KAZAMA: PT I

NEVERENDING NEVERENDING STORIES—By Andrew Maerkle
“My idea was to produce a reportage painting that would chronicle Japan’s relationship with nuclear power. I think it’s the same for anybody, but something that starts out as a shocking event will fade from memory over the years. In order to resist that, I wanted to make a reportage painting ghastly enough to immediately recall the terror and foreboding of the time for viewers.”

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HO TZU NYEN: PT III

“Without doubt, many art institutions will harbor the fantasy of catching up to the instant—for example, by making ‘instagrammable’ shows—but for me, a possible redemption of the museum today is its very slowness. It can offer a break in the ‘rhetoric of immediacy’ demanded by the accelerated circuit of social media.”

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HO TZU NYEN: PT II

“That faction of the Kyoto School took significant risks with their careers and lives to do and say what they thought to be right. And we might also acknowledge that they sought to do this in a largely uncynical way, in the thickness of their historical moment, without the benefit of hindsight. Reading about them makes me wonder if I would have been able to do any better in a similar situation.”

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HO TZU NYEN: PT I

LEAP BEYOND VOID—By Andrew Maerkle
“How does Buddhism get wrapped up in the techniques of violence and killing of samurai culture, which in many ways culminated in kamikaze culture? This led me to a kind of inconsistency at the root of Kyoto School philosophy. For example, Kitaro Nishida’s foundational concept of zettai mu, or “absolute nothingness”: it is absolute but nothing at the same time.”

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ROSA BARBA: PT III

“For me the volcano has always represented a central metaphor for the complex relationships between society and politics in Italy. At the foot of the sleeping monster the mafia runs its empire. Meanwhile, all official attention is focused on the volcano, where nature is dramatized as a media spectacle—a powerful structure beyond comprehension.”

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ROSA BARBA: PT II

“I try to create an anarchic organization of cinematic space in my films and larger exhibitions. Anarchic organization attempts to build a foundation for thinking and acting by destabilizing the old hierarchies of film’s components. It gives viewers more freedom about where to look, what to read first, how to bring all of these narratives together, and, indeed, how to edit the space.”

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ROSA BARBA: PT I

DOUBLE WHISTLER — By Andrew Maerkle
“In recent years I’ve been struck by the affinities between astronomy and cinema. On one level, both engage with concepts of light, time, and distance. Indeed, it could be argued that both astronomy and cinema are essentially composed of only these elements. On yet another level, both can be understood as sharing, in different ways, fundamental aspects of uncertainty and speculation.”

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HO RUI AN: PT III

“In Thailand, the word IMF entered popular usage during the Asian financial crisis and became a synonym for ‘cheap.’ I think the foreign origin of the word, or what Vicente Rafael calls the ‘promise of the foreign,’ is what opens the word itself to becoming a carrier for new meanings.”

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HO RUI AN: PT II

“In Japan, there was the benshi narrator. In Thailand, there were the versionists who would travel in troupes in the provinces, where they would present films accompanied by a live aural performance that served to supplement the projected image in various ways, from narration to dubbing, commentary or even critique. You can read this practice as an extreme localization of the foreign or generic.”

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