Setting soundtracks to the desert, the sea, and the sky.
Laida Lertxundi makes films using landscape and sounds. The first of Laida’s films I saw was Footnotes to a House of Love(2007), a thirteen-minute 16mm film in which a few people spend time in and around a dilapidated house in a southern California desert listening to Shangri-Las cassettes along with other, less immediately recognizable sounds. Footnotes struck me visually and sonically, though at the time I don’t think I was able to fully grasp the complexity in method or the way in which she, as Genevieve Yue has phrased it, “treats feeling as material.” As I moved through her filmography, Laida’s films felt threaded together. They could locate minutes that I felt I had already seen, previously collected but unnoticed till now, almost memories-in-progress—the sun at a particular time of day, the quiet feeling of being at home with another person, simply co-existing.
I am interested in her choice of careful frames, her relation to the body and its representation, and how uniquely and interestingly she succeeds in emphasizing the aural environment so that it directly influences and cannot be pulled apart from the image. There is a mysterious quality to her films that is both natural and unpretentious. I watch her films over and over again, the same way I’ve rewound a mix-tape over and over again to a specific track that pulls me out of myself.
Born in Bilbao, Spain, Lertxundi has had solo exhibitions at Alhóndiga Bilbao (2014) and Marta Cervera Gallery in Madrid (2013), and her work has been exhibited at the 2013 LIAF Biennial, 2013 Lyon Biennial and the 2012 Whitney Biennial. Lertxundi is also a film and video programmer in the US and Spain and has published numerous articles on film, most recently in the anthology La Risa Oblicua and in Bostezo magazine. She teaches film at the University of California San Diego and resides in Los Angeles. Her last film, We Had the Experience but Missed the Meaning (2014) had its New York premiere this summer at BAMcinemaFest and has already exhibited internationally.
A few weeks after a preview screening of Utskor: Either/Or(2013), Laida came to meet me in between screenings at Spectacle, a microcinema in Williamsburg. It was December, in the middle of a blizzard, and I remember the snow was twice as deep when we left a couple hours later as it had been when we’d begun. I program films at Spectacle, and Laida and I began our conversation around curation:[ Read More ]