Sunday Roundup

Cinema, Drawing, Music, Painting, Roundup

A collection of what we thought was best all week.

Charlie C-T:

Genesis is the latest photography project by the amazing photographer Sebastião Salgado which pulls together 8 years of hard work in a number of exhibitions and a book. I can’t find a good website for the artist but just Google images “sebastiao salgado genesis”.

Grace:

                      clariss-d'arcimoles-4

In her project Un-possible Retour, the artist Clarisse D’Arcimoles re-takes photos from her childhood with members of her family, years after the original photo was taken. The blog Young Me, Now Me asks it readers to submit photos with a similar idea, but I was drawn to the attention to detail in D’Arcimoles outcomes. Here’s a selection of the best from Young Me, Now Me.

Jack:

Noma_Bar_Tea_For_Two Noma-Bar_Cutitout-03

Powerful, expressive and unique. This week I researched the designer Noma bar, a minimalist designer that produces powerful communication to the viewer. The speech bubble coffee mug related work has soon become a personal favourite.

Freya:

Caesar Must Die; an Italian drama-documentary, directed by brothers Paolo and Vittorio Taviani, set in the high-security wing of Rome’s Rebbiba prison. The film centres around the rehearsal and performance of Shakespeare’s Julius Caesar, which is performed completely by the inmates themselves. I found the film to be very moving, as it forces you to question the morality of these prisoners, as they show such emotion, even after having committed such terrible crimes.

Laura:

Whilst meandering through the interwebs and anticipating our workshop next weekend with London-based art collective Duchamp & Sons, I came across this brilliant looking season at the Barbican, celebrating the work of Marcel Duchamp. Exciting!

Tom

mizo

It’s difficult to imagine a film like Sisters of the Gion being made by anyone other than Kenji Mizoguchi. The further I delve into the work of this eminent filmmaker, unrivalled at his time, the more I unfurl his inherent morality. Mizoguchi makes some of the finest feminist essays I’ve ever seen, and this one – made in 1936 no less – might just be his best. What’s more astounding about his delicate expression, from the perceptive long takes to the innovative deep focus, is that this was entirely intuitive: he never finished primary education, grew up in poverty near a brothel and watched as his sister was sold into prostitution by his abusive father (see Sansho the Bailiff, his finest.)

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