Screening
January 15, 2007, 7:30pm
Program 2 of the film series accompanying the exhibition, In The Poem About Love You Don't Write The Word Love, held at Anthology Film Archives.
Screening
January 15, 2007, 7:30pm
Program 2 of the film series accompanying the exhibition, In The Poem About Love You Don't Write The Word Love, held at Anthology Film Archives.
Andy Warhol, Outer and Inner Space (1965)
16mm film, double-screen projection, black-and-white; sound; 33 minutes.
Courtesy of the Museum of Modern Art, Film Circulating Library, New York.
A quadruple portrait of [Edie] Sedgwick told in alternating video/film/video/film. As much as Warhol gives us a portrait of Sedgwick, he has produced a portrait of the emergence of video caught on film, reflecting the new mode of televisual liveness that had erupted into and ruptured the filmic.
— William Kaizen
Pier Paolo Pasolini, Notes For An African Orestes (1968/69)
35mm film, color, sound; 75 minutes. Courtesy of Cineteca di Bologna, Italy.
Pier Paolo Pasolini’s Notes For An African Orestes, 1968/69, one of three films that compose his Notes for a Poem on the Third World, demonstrates a profound irreconcilability and a deliberate resistance to any form of synthesis. His strategy consists of taking notes on film thereby creating works that exist in a sort of suspension in the sense that they announce the coming of something else which isn’t there yet but whose meaning is already being created in the mind of the spectator. The missing film exists between the mind of the viewer and the ‘notes’ that he or she is watching.
François Bucher, Television (an address)—Ernesto Samper Addresses Washington, January 20th. Inauguration Day (2005)
DVD, color, sound; 20 minutes. Courtesy of the artist.
Bucher invites guests to address the image of television, live, at the moment of its transmission. Here Ernesto Samper, the ex-president of Colombia, delivers a live broadcast to Washington on the day of George Bush’s second inauguration.