There is a morbid fascination in observing cinema’s material world. That world which stands still, which is not affected by the transience of the moving image; which can be observed for the desired time and angle, and which steadily reveals itself upon our eyes. This possibility is the revenge of... continue reading

Hovering somewhere between a mini-golf course and a rug emporium, Nora Schultz’s solo exhibition at Campoli Presti is a peculiar presentation. It is a quiet show, filled with careful arrangements of office carpets and rubber mats, partially hung from strings and paired with found objects. The space serves at once... continue reading

George Barber, the pioneering British video artist influential in defining the Scratch Video movement, launched his first solo show at Waterside Contemporary with “The Freestone Drone”—an installation that resembled a domestic yard-cum-war zone. As one entered, strung up across the gallery walls were numerous washing lines, covered with sheaths of... continue reading

To adequately reflect on the present moment requires a certain distance, some way of pulling out of the perpetual now of contemporary time and into another. This phenomenon can be evidenced in the compression of time that occurs when attempting to recall the near past; years turn into events and... continue reading

This darkened period following the new year, with only slim pickings of sunlight, is habitually described in the northern hemisphere by one succinct word: depressing. With the celebrations around the winter equinox to keep spirits up now over, people trudge glumly back to work, cheerless. Still, beyond existential gloom, this... continue reading

Long before Ali G’s Borat, Andy Kaufman was touring the East Coast with his stand-up comedy character Foreign Man, an ambiguous entertainer from a fictional island in the Caspian Sea, who, with his overtly strong accent, inept punch lines, and naïve questions, created awkward moments on stage of almost unparalleled... continue reading