Another Screen, the new, free “irregular streaming” platform from feminist film journal Another Gaze, specializes in underseen, difficult-to-access work by women filmmakers, curated by loose association with themes like food, hysteria, and currently the television work of Marguerite Duras. That program comprises six clips of the French author, screenwriter, and filmmaker interviewing subjects on the 1960s program Dim Dam Dom.
Duras is usually laconic in these interviews, her questions assuming an air of gravitas that subjects respond to at length. The dynamic gives Lola Pigalle, a famous exotic dancer, ample airtime to defend her profession as an art form. But with France’s only female prison warden, Duras breaks form to frequently interrupt her use of dehumanizing terminology. Coolly confrontational, she presses, “Is an inmate someone who has made a mistake? Or are they someone who has been deprived of their freedom?”
Another Screen’s other current program is For a Free Palestine: Films by Palestinian Women, which primarily features short films by contemporary artists, many of whom specialize in new media. For example, Razan AlSalah’s Your Father Was Born a 100 Years Old, and So Was the Nakba unfolds entirely over Google Street View. An ethereal voice, ostensibly Salah’s grandmother, narrates its exploration of Haifa, recalling the Nakba and frequently cursing the limits of the medium, which is her only means of visiting the place.
Mona Benyamin’s surreal, Eraserhead–esque Moonscape (2020) compares buying and selling plots of land on the moon, “far from the reach of colonialism,” to a mythic longing for a place to call home. The film is style like a music video, the story being sung, with Benyamin’s parents playing roles in it. Shuruq Harb’s semiautobiographical The White Elephant (2018) also uses music videos as a touchstone, mixing TV clips with news reports and home video recordings to demonstrate the coexistence of pop culture and conflict in formative media. These films and others portray history as a palpable force for young Palestinians.
Another Screen presents all of its streaming titles alongside original essays and supplementary contextualizing materials — academic texts, transcribed conversations, and even scanned pages from books. It’s a wonderful independent streaming effort. Marguerite Duras on Television is available through June 2, while For a Free Palestine is available through June 18.
This week: New York’s disappearing alleys, Wolfgang Tillmans’s fading star, Velma Dinkley is gay, and more.
The technology isn’t available for public use, but Meta (formerly Facebook) released a series of eerie sample clips based on prompts like “cat watching TV” and “spaceship landing.”
Fall shows at the Chicago art space explore how same-sex desire became the basis for a new identity category and celebrate the cosmic work of an acclaimed Chicago-based artist.
There’s high demand in the country for the nostalgia-soaked Instagram videos of sister duo Zainab and Sakina Sabunwala.
Gustav Klimt: Gold in Motion transforms a historic bank in Manhattan into the unlikely setting of an immersive art experience one visitor called “mesmerizing.”
Masterworks of American Landscape Painting at the Center for Figurative Painting makes clear that the term “landscape” has been widely interpreted.
The artist’s work quietly asks: How do we read and write the world we live in?
Funded fellowships support on-site graduate and postdoctoral research spanning a variety of disciplines on cultural works in the center’s collections.
Warsaw Gallery Weekend and Fringe Warszawa hope to offer long-term solutions for a thriving art scene in Warsaw when skyrocketing inflation and a lack of affordable studio spaces have become the new norm.
But Greek Prime Minister Kyriakos Mitsotakis, who says the UK is “cornered,” plans to insist on the marbles’ return during a visit this year.
The Art Dealers Association of America is expanding its natural disaster relief program, and announced $60k in grants to six US nonprofits.