I am fertile ground is a piece imbued with the themes of Antonis workthe body as an artistic tool, both for making and meaning-making, which corresponds to the art objects that will inevitably outlast it. Her work as a product hinges upon her physical form in the time she makes it, a period sometimes as specific and short as the instant of a photograph.
This sense of bewilderment, of a past that is both accessible and impossible to decipher, is the real subject of Maria Stepanovas In Memory of Memory, translated from the Russian by Sasha Dugdale. Its ostensible subject is her own genealogy, going back through four generations of Russian Jews, which is presented to the reader like a cadaver on a tableall parts intricately connected and covered in film, both sticky and slippery to the touch. Stepanova is less interested in holding these parts up to the light than she is in recording her horror at the death of her history, its inability to speak for itself, and the plethora of morbidities which could inform its cause of death.
The strange curse of privilege is the proper subject of The Interim.
Semanss Resurrection (2022) is a genre flick that grapples with the power of trauma as a tool of manipulation and a destroyer of credibility.
Adapted from a relatively obscure semi-autobiographical novel by the French author Annie Ernaux, Happening (2021) is director Audrey Diwans second feature. Happening is a deeply affecting encounter with illegal abortionspecifically Ernauxs, which took place when she was twenty-three, in 1960s France.
A toxic pink smog appearing simultaneously across the whole world is liable to kill a person in under ten seconds. That Gerbases film was entirely written and produced before the pandemic began is the basis of what makes it so powerful.
This anthology assembles the poetic compositions of the poet and performer scarcely known in this country, but influential in Russia since the days of the Soviet Union. Monastyrskis poems call for action, and by their very nature draw attention to the activity of reading.
Unlike so many other exhibition monographswhich are often treated as something between a program guide and show souvenirMotor City Underground presents detailed reproductions of Sinclairs photographs, often blown up to full-page, alongside a wide variety of testimony. The range of dates and sources across which these statements are culled suggests years of research combing through a decades worth of underground missivesthe type of ephemera that does not often make it into digital archives.