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| -rw-r--r-- | db.json | 17 |
1 files changed, 8 insertions, 9 deletions
@@ -1251,7 +1251,7 @@ "description": "<p>\nIn this rare footage we see Surveyor of the Queen’s Pictures, Sir Anthony Blunt, giving a tour of the Queen’s Gallery at Buckingham Palace in 1962. At this time Blunt was at the peak of his intellectual career and not yet unmasked for his double intelligence activities for both MI5 and the Soviets. What emerges here, in the heart of the British Empire, as casual banter about a portrait of King Charles
I and a clock that “keeps perfect time,” takes on a certain duplicity when seen in the rear view mirror of archival footage. The curatorial tour ends with a particularly ironic twist as Blunt discusses the Royal Family’s Fabergé eggs, which were gifts from the Russian royal family and were famous not only for their exquisite craftsmanship, but also because each egg opens to reveal a secret surprise. \n</p>\n\n", "author": "ANTHONY BLUNT", "thumbnail": { - "uri": "assets/data_store/36-BBC/bbc-thumb.mp4", + "uri": "assets/data_store/36-BBC/36-BBC-thumb.mp4", "type": "video", "width": 320, "height": 240 @@ -1282,7 +1282,7 @@ "description": "<p>\nA collaboration between theorist and erotic writer Pierre Klossowski and filmmaker Raúl Ruiz, <i>The Hypothesis of the Stolen Painting</i> presents a debate between an art collector and a disembodied narrator, set in a ghostly mansion where the scenes shift between paintings and recreations of paintings as <i>tableaux vivants</i>. On the surface, the film is a meditation on the symbols of secret societies but further reflection reveals the epistemological problematics of historic iconography, when the image is split between symbolic exchange and secret initiation. Six paintings are presented and lectured upon throughout the film, but the narrator’s theories can only be explained by postulating a secret, stolen seventh painting that would provide the key to unlocking the meaning of the series and thus the sex magick rite to which the images allude. Cinematographer Sacha Vierny, who also shot seminal works for Alain Renais, Luis Buñuel, and Peter Greenaway, uses carefully angled mirrors to follow a ray of light from one <i>mise en scene</i> to the next, tracking the narrative continuity through the light in each scene, by way of cinematic chiaroscuro. Literally bookending the exhibition opposite the National Gallery of Canada’s nº6092 the film is, as Raúl Ruiz claims, “a fiction about theory.”\n</p>\n\n", "author": "RAUL RUIZ ", "thumbnail": { - "uri": "assets/data_store/37-Hypothesis/ruiz-thumb.mp4", + "uri": "assets/data_store/37-Hypothesis/37-Hypothesis-thumb.mp4", "type": "video", "width": 320, "height": 240 @@ -1313,7 +1313,7 @@ "description": "<p>\nThe lecture by the alias “Walter Benjamin” titled <i>Mondrian 63-96</i> parodies the discourse around objects that are not what they appear to be, and subjects who are not who they say they are. The exhuming of the persona “Walter Benjamin” as a pseudonym, by an eastern European artist/theorist in the 1980s, was a strategic move to question the hierarchy of original and copy while providing a novel position for the art critic. In this short video, an actor articulates an argument, trying to comprehend the paradoxes of duplicate paintings alongside paintings from the future that mysteriously hang in the current lecture hall. Taking the arguments to an extreme, the undead Walter Benjamin exclaims: “a copy is a meta-original.”\n</p>\n\n", "author": "WALTER BENJAMIN ", "thumbnail": { - "uri": "assets/data_store/38-Benjamin/benjamin-thumb.mp4", + "uri": "assets/data_store/38-Benjamin/38-Benjamin-thumb.mp4", "type": "video", "width": 320, "height": 240 @@ -1888,7 +1888,7 @@ "description": "<p>\n<i>no6092: The Purloined Letter </i>consists of an encrypted digital image using the technique of steganography that is automatically emailed to the sender when they request the work by writing <b>no6092@stankievech.net</b>. Steganography is the tactic of hiding a secret message in unsuspected data.\n</p>\n\n<p>\nThe artwork <i>no6092: The Purloined Letter </i>is based upon the painting catalogued under accession no6092 at the National Gallery of Canada and currently attributed to an anonymous painter under the title <i>Augustus and Cleopatra </i>c.1630- 1650. While the artwork <i>no6092: The Purloined Letter </i>and the NGC’s digital reproduction of the painting look incredibly similar, the digital artwork has changed every pixel in a calculated process to encrypt a secret message. The verisimilitude and yet the micro-differences are the very function of the work. \n</p>\n\n", "author": "CHARLES STANKIEVECH", "thumbnail": { - "uri": "assets/data_store/49-S-Purloined/purloined-thumb.mp4", + "uri": "assets/data_store/49-S-Purloined/49-S-Purloined-thumb.mp4", "type": "video", "width": 320, "height": 240 @@ -2010,11 +2010,10 @@ "description": "<p>\nYves Bouvier, a second-generation broker and shipper of art, was arrested by Swiss authorities on suspicion of cheating a Russian oligarch of over $1 billion in inflated art sales, scandalizing the already unregulated art world with his conflation of the logistics of shipping with the speculation of art dealing. Bouvier is the force behind a network of exterritorial zones around the world called “freeports” (Geneva, Singapore, Hong Kong, Luxembourg). At the same time he stepped down (while claiming his innocence) a NATO ambassador was brought onto the small board of directors. While freeports exist for all types of tax-free holdings of assets around the world in the form of unmarked warehouses, Bouvier’s brand of the freeport combined the infinite secret shuffling of works around the world with luxury services such as private exhibitions rooms, laboratories for testing attribution, and framing services. Images are exchanged not for their iconography but are commodities themselves, traded in unregulated exchange networks for services such as bribery and corporate espionage. In the hypermarket of art speculation worth $60 billion dollars annually, paintings are bought and sold seeing neither the light of day nor the black of the tax line. The black box of the State’s diplomatic pouch morphs into the black box of the entrepreneur’s storage locker. \n</p>\n\n", "author": "DAVID ARENDT ", "thumbnail": { - "uri": "assets/data_store/50-Arendt/50-Arendt-thumb.jpg", - "caption": "", - "height": 227, - "width": 303, - "type": "jpg" + "uri": "assets/data_store/50-Arendt/50-Arendt-thumb.mp4", + "type": "video", + "width": 320, + "height": 240 } } ], |