Category Archives: VIDEO

JA’TOVIA GARY — THE GIVERNY DOCUMENT

I want to corroborate Black women’s reality. Some of us feel safe and some of us do not, but within that spectrum, there’s grief, there’s relief, there’s whimsy. There are feelings of anxiety and apprehension, but also faith and trust. Our inner world is layered and super vast, and I want us to be able to see that depicted on the screen, witness Black women having these interior moments…

I call myself a director who edits, but I’m probably an editor who directs … The idea of handing this over to someone else is so foreign, so counterintuitive. For me, that’s where the real making takes place. So my process is sourcing footage from everywhere, whether that be the internet or some image I’m creating myself or a collaboration with a DP or an archive. But the actual process begins once we sit down at that hard drive, because it’s important for me to have that level of control. Ja’Tovia Gary, interview with Rooney Elmi, 2019

This week at the AFI FEST presented by Audi, Gary brings her new 40-minute film THE GIVERNY DOCUMENT—which incorporates footage shot in New York City and at Monet’s historic gardens in France.

THE GIVERNY DOCUMENT will be preceded by BLACK BUS STOP (9 min,), directed by Kevin Jerome Everson and Claudrena N. Harold.

THE GIVERNY DOCUMENT—SHORTS PROGRAM 6

Tuesday, November 19, at 7:45 pm.

Wednesday, November 20, at 3:15 pm.

Chinese Theatre

6801 Hollywood Boulevard, Los Angeles.

From top: Ja’Tovia Gary, image courtesy and © the artist and the photographer; Ja’Tovia Gary, The Giverny Document (2019), images courtesy and © the artist.

A.K. BURNS — ARTIST TALK AND SCREENINGS

As part of the Horizontal Vertigo program at the Julia Stoschek Collection in Düsseldorf, A.K. Burns will restage the first two episodes of Negative SpaceA SMEARY SPOT (2015) and LIVING ROOM (2017)—and premiere the third: LEAVE NO TRACE (2019).

Negative Space is a cycle of four interrelated multi-media installations. Conjuring and deconstructing science fiction tropes, Negative Space builds each episode around a physical system: the sun (power), the void/land, water, and body. The worlds within each video germinate from site-specific phenomena, building allegorical structures for each installation. This cycle of works raises questions about how value is allocated, with respect to resources, environmental fragility, marginalized bodies, and their relationship to place…

As a formal term in art, “negative space” denotes the unseen matter between and around the subject. The subject is the focus of our attention, a definable entity. Thereby negative space is considered subordinate to the primacy of the subject. What is compelling about negative space is that it is unfixed, malleable and ultimately an open set of possibilities. I use this concept of negative space as a proposal for re-orientation and an analogy for generating agency within a subjugated position. The premise of the Negative Space tetralogy is to envision a radical cosmology wherein hierarchical relations permute. A.K. Burns*

In mid-November, Burns will give an artist talk at JSCwith curator Lisa Long, and there will be multiple screenings of Community Action Center, the 2010 video by Burns and A.L. Steiner.

A.K. BURNS—NEGATIVE SPACE

Through December 15.

COMMUNITY ACTION CENTER

Friday through Sunday, November 15, 16, and 17.

Screenings at 12:30 pm, 2 pm, 3:30 pm, and 5 pm.

A.K. BURNS ARTIST TALK

Saturday, November 16, at 3 pm.

JSC Düsseldorf

Schanzenstrasse 54, Düsseldorf.

A.K. Burns, Negative Space, from top: A Smeary Spot, stills (6); A Smeary Spot installation view; Living Room, stills (2); Leave No Trace soundtrack, 2016, unlabeled vinyl record, black nitrile gloves, clear zip-lock bag, silkscreen in white ink with poem printed on reverse, 31:08 minutes, images courtesy and © the artist. A.K. Burns and A.L. Steiner, Community Action Center, stills (2) and, below, poster; images courtesy and © the artists.

NAO BUSTAMANTE IS DELUSIONAL

This week, Dirty Looks and Redcat present a twenty-five-year retrospective of Nao Bustamante’s film, video, and performance work.

“Playing a variety of televisual modes off of one another—telenovela, true crime, reality TV and artist’s video—the program ricochets across media, ruminating on the brown body in an ever-shifting American pop culture landscape, questioning the role of the artist to probe, exploit, engage, and untangle this mess we’re in.”*

NAO BUSTAMANTE IS DELUSIONAL (ON SCREEN)*

Thursday, November 7, at 8:30 pm.

Redcat

631 West 2nd Street, downtown Los Angeles.

Nao Bustamante. Images courtesy and © the artist, the photographers, and the New Museum.

RAGNAR KJARTANSSON — THE VISITORS

Ragnar Kjartansson’s magnificent multi-screen video installation THE VISITORS is now on view at Kiasma in Helsinki.

RAGNAR KJARTANSSON—THE VISITORS

Through February 2.

Kiasma, Finnish National Gallery

Mannerheiminaukio 2, Helsinki.

Ragnar Kjartansson, The Visitors. Kjartansson, below. Images courtesy and © the artist.

SHIRIN NESHAT IN CONVERSATION

Shirin Neshat is in Los Angeles for the opening of SHIRIN NESHAT—I WILL GREET THE SUN AGAIN—her retrospective at The Broad, curated by Ed Schad—as well as several public events around town.

On Saturday, as part of the ARRAY 360° festival, she will join Garrett Bradley for a discussion and screenings of their new films—LAND OF DREAMS (2019, Neshat) and AMERICA (2019, Bradley)—and on Sunday at the Colburn School, Neshat and her longtime collaborators Shoja Azari, Sussan Deyhim, and Ghasem Ebrahimian will participate in a conversation and music event as part of The Broad’s Un-Private Collection series.

SHIRIN NESHAT and GARRETT BRADLEY

Saturday, October 19, at 3 pm.

ARRAY Creative Campus

180 Glendale Boulevard, Echo Park, Los Angeles.

THE UN-PRIVATE COLLECTION—SHIRIN NESHAT

Sunday, October 20, at 6 pm.

Colburn School, Zipper Hall

200 South Grand Avenue, downtown Los Angeles.

From top: Shirin Neshat, photograph by Rodolfo Martinez; Shirin Neshat, I Will Greet the Sun Again exhibition catalog by Ed Schad, cover image courtesy Prestel; Neshat, Sarah, 2016, single-channel video installation; Neshat, Roja, 2016, single-channel video installation; Neshat, Offered Eyes, 1993; Garrett Bradley, America (2019), still. Images courtesy and © the artists, photographers, publishers, and Gladstone Gallery.