Appropriation
Shot on a vintage news camera, with a script containing appropriated texts, The Plagiarists is a sendup of indie movie tropes and notions of creative authenticity.
The choreographer explores movement through the vocabulary of others.
The hymn for the time is bone on bone. / One man’s anthem slaughters another. / I know you’ve seen it all before— / a boy born wrong is opened up by the law
“Dub was my sound because of postcolonial movements. I grew up in it. I bathed in it. I breathed it. So why shouldn’t it be mine?”
Diao’s first comprehensive retrospective, at the Ullens Center for Contemporary Art—fittingly, in the painter’s native China—is the occasion for a conversation that looks back at fifty years of artistic production.
Reanimating the 20th century … is the second in a series of Sourcebooks published by Independent Curators International.
Fitterman’s relentless, book-length new poem is composed of public articulations of loneliness harvested from online message boards.
First Nations artists lessLIE and Rande Cook curate a four-person exhibition that looks at indigenous identity, cultural re-appropriation, and cross currents of traditions.
Lucy Skaer might be hiding a time machine.
Matías Piñeiro makes intricate films that play with literature, history and language. His Shakespearean Viola opens on July 12 at the Film Society of Lincoln Center alongside a retrospective of his films.
Read the Original Spanish language text de esta conversation.
Enrique Vila-Matas’s characters include James Joyce, F. Scott Fitzgerald, Ernest Hemingway, Paul Auster, and even Enrique Vila-Matas. The Catalan author talks with Meruane about his distinct method of interlacing reading, writing, fact, and fiction.
“The traditional economies of film are a little more transparent, right? Like at the movie theater, you buy a ticket, and you have a sense of the way film production happens. But that whole apparatus is invisible in an art context.”
One of the highlights of the generous and sprawling Views from the Avant-Garde section at the recent New York Film Festival was when the dreaded low-battery warning appeared on screen amid intense flickering white light at the start of Jessie Stead’s latest video.
In paying homage to Ed Ruscha’s Twentysix Gasoline Stations, Sowon Kwon’s book project dongghab suggests a connection between nascent American postmodernism and violence.
Kenneth Goldsmith is a trickster for sure, not just because his work takes place on the crossroads between legal and illegal, between digital and real life, between word and image, but because he’s a man who wears a lot of hats, metaphorical and otherwise.
