Negro, noche, oscuridad... vivimos tiempos sombríos? Vienen días más oscuros, o lo peor pasó ya, y nunca nada será todo tan negro como lo fue... antes? Eclipse de sol, miedo al futuro... lo que está por venir, será también negro?
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A film is made of cut and assembled images. Sometimes, the cut is so delicate we wander from one scene to another without noticing that focus has shifted from this corner to the opposing one, in a perfectly illusive move.
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As a 19-year-old, Leila Pazooki had her first exhibition at a gallery in Tehran with photographs of water, called ‘Hydromania’, raising the instant attention of famous filmmaker Abbas Kiarostami. She moved into the opposite direction, though.
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Agustinus Kuswidananto aka Jompet created a series titled Java’s Machine since mid of 2008. This new media work consists of video and sound installation, sculptural figure and site-specific performance projects that have developed into some series of work exhibited internationally in some biennales and many other international exhibitions.
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The concept of ‘black humour’ as a distinct genre in modern literature, film and art was invented by the French, with Andre Breton laying claim to its paternity in his Anthology of Black Humour (1997).
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Black does not emit or reflect light; it absorbs all frequencies in the visible spectrum. Colour gives to the eye – by reflecting – while black takes from it. This optical phenomenon has acquired analogous cultural and metaphysical associations. In the West, black is often a symbol for death, loss and absence.
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The arts only ever lend to projects of domination or emancipation what they are able to lend to them, that is to say, what they have in common with them: bodily positions and movements, functions of speech, the parcelling out of the visible and the invisible.¹ ~ Jacques Rancière
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