Events
Oct 7 - Oct 11: GNY Cinema, Screening with Tomonari Nishikawa and Redmond Entwistle
Saturday, October 9, 2010
3:00 PM to 6:00 PM
October 7 - October 11
Redmond Entwistle and Tomonari Nishikawa
Selection of recent work by
the artists.
Screened daily at 3pm.
Conversation with the artists following Saturday, October 9 screening.
Tomonari Nishikawa, Sketch
Films #1-5, 2005-2007 (Super-8mm, 15 mins)
Tomonari Nishikawa, Tokyo - Ebisu, 2010
(16mm, 5 mins)
Tomonari Nishikawa, Shibuya - Tokyo, 2010
(16mm, 5 mins)
A 21st-century city symphony constructed through
meticulous single-frame shooting and in-camera editing, Tomonari Nishikawa’s Sketch
Films transform everyday elements of urban design—a neat grid of windows,
the corner of a sign—into a kaleidoscopic spray of rapidly mutating geometries.
Metropolitan landscapes are also the subject of his recent Tokyo - Ebisu and Shibuya - Tokyo, where, through an elaborate series of maskings and
superimpositions, he continues to advance the formal possibilities of
small-gauge abstraction.
Redmond Entwistle, Monuments,
2009 (16mm, 30 mins)
The artists Robert Smithson and Gordon
Matta-Clark are revived from the dead and ejected from their makeshift
mausoleums in New York by the forces of redevelopment. Led through New Jersey by
a young Dan Graham, they debate their artistic positions with the 'non-actors'
they encounter at the sites of their work in New Jersey.
In keeping with much of the science fiction writing that inspired Robert
Smithson and his colleagues, Monuments is a voyage to the Lost World of
New Jersey. Like 19th century adventurers, these artists reacted to the crisis
in modernism by seeking out material at the margins, and New Jersey was the
first and recurring figure of this margin.
Monuments re-enacts the narrative
subtext of Post-Minimalism with some of the crude poetry of the American
B-movie, drawing on the treatment of the figure in the landscape in North
American cinema from sources as diverse as Fattie Arbuckle and Buster Keaton's
'two-reeler' films and John Ford's Young Mr. Lincoln.
Many of their early works were made in or
engaged with the landscapes of New Jersey, and the film retraces
Post-Minimalism's abiding interest in the relationship between New York and New
Jersey. What at first seems to be a film about art history, becomes a portrait
of the areas of New Jersey that were once the industrial belt of New York, and
a second story emerges of the demise of industry in the region and the changing
position of North America within a globalized economy. - LUX
