Thomas Demand
Lift to the Scaffold By Judy Annear Lift (2005), C-Print/Diasec, 190 x 150 cm. © Thomas Demand, VG Bild-Kunst, Bonn / APG-JAA, Tokyo. All images: Courtesy Sprueth Magers Berlin London. In 1958 Louis Malle directed his first feature
Past series
No. 17
THE PRODUCTION OF CLOUD A letter from Hans Ulrich Obrist to Hou Hanru Koo Jeong-A – Petit déj’ & quick notes (2007), felt pen on paper, 45 x 64 cm. Courtesy the artist and Yvon Lambert Paris, New York.
Thomas Demand
Lift to the Scaffold By Judy Annear Lift (2005), C-Print/Diasec, 190 x 150 cm. © Thomas Demand, VG Bild-Kunst, Bonn / APG-JAA, Tokyo. All images: Courtesy Sprueth Magers Berlin London. In 1958 Louis Malle directed his first feature
FREE MATTHEW BARNEY!
Dan Cameron on the non-distribution of Matthew Barney’s Cremaster cycle Photo illustration by ART iT. A few weeks ago, an art cinema in downtown Manhattan held a public screening of the complete Matthew Barney Cremaster cycle. While I
The Resistance of Cinema
By Trond Lundemo Photo illustration by ART iT. Seemingly, one has always spoken of the end of cinema. Even one of the main inventors of the apparatus, Louis Lumière, saw that it was “without a future,” and with
Critical Fieldwork 9
Not Identical, but the Same: Yuuki Matsumura’s ‘Almost-Dead Sculpture’ Yuuki Matsumura – Untitled (2009), set of three aluminum sheets, 30 x 65 x 45 cm, each. Let’s begin with the dualism of “things that can be reproduced any
‘Dispositif’ Theory: Returning to the Movie Theater
By Olga Bryukhovetska What is Dispositif? The concept of “dispositif” is best known as a key term in late Foucault that first appeared in his History of Sexuality, Volume 1 (1976) to replace the use of “discursive formation,”
‘Where Three Dreams Cross’
Between Blue Rocks By Aveek Sen Dayanita Singh – Dream Villa 40 (2008), C-type print. Courtesy the artist and Frith Street Gallery, London. To approach photography through the gates of poetry is to complicate the relationship of both
An Indexical Survey of Tokyo in the Age of Cinema
By Shinro Ohtake Left: Vintage promotional pamphlet for the film Wu yue yu zhong hua, xia ji (Blossom in Rainy May Part 2, 1960), directed by Kim Chun, produced by Kong Ngee Motion Picture Production Company, Hong Kong. Right:
Laser Karaoke Three-Minute Theater of Life
By Kyoichi Tsuzuki There are certain individuals who in their youth avoid any place associated with karaoke, stubbornly preferring to remain cool and aloof by refusing to sing even when taken to such establishments, but who upon reaching
Ming Wong
Stranger on the Road By Hu Fang Cinema billboard designed by Ming Wong, painted by Neo Chon Teck (2009), variable dimensions, acrylic emulsion on canvas. All images: Courtesy Ming Wong. Word Order Many of Ming Wong’s work titles
Critical Fieldwork 8
New developments in ‘double-line painting’ In the essay I wrote for the monograph nobuya HOKI drawings, published in 2004 (1), I indicated that there is a problem at once ancient and new at the root of Kyoto-based artist Nobuya Hoki’s