Peter Gidal News Today

Though Leung’s works are highly attentive to their physical surroundings, she conceives of them not as site-specific but “context-contingent,” capable of being realized again and again in different places, but each time conditioned by institutional circumstances that would determine their form. Likewise, they accrue new layers of meaning as they circulate through different situations. When Violets 2 was originally exhibited at Netwerk Aalst, for instance, it was installed on the floor of t...

Aria Dean is an artist who works in multiple media. Her interest in materialist and structural film has always been an intellectual base, and in her new film Abattoir, U.S.A.! she builds upon that base in ways that expand her creative practice. Dean speaks with McKenzie Wark about the connection between her earlier film and her newest piece, the importance of collaboration, and the challenges of being an artist who is also a noted writer.

Straub, who has died at the age of 89, was, together with his wife Danièle Huillet, one of the most radical and incendiary of political filmmakers in post-war Germany, Italy and France.

The director talks about his intellectual, political and hilarious body of work, as the ICA puts on a retrospective with contributions from his former students Carol Morley and Jarvis Cocker

Aesthetics and politics: a new reader from The Visible Press offers a bracing introduction to Afterimage's ever-curious, ever-relevant quest for the contours of a radical cinema

FOR ITS DIAMOND JUBILEE, the Cannes Film Festival marked the occasion the same way it does every year: by celebrating itself. Indeed, only at Cannes could an opening night video introduction by Ukrainian president Volodymyr Zelenskyy, quoting at one point from Charlie Chaplin’s The Great Dictator, double as a tribute to a medium—and, by extension, a festival—finally returning to relative normality after two years of pandemic-related setbacks. (“We are Cannes,” festival director Thierr...