Tacita dean interview film torrent

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tacita dean interview film torrent

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Children played with their own shadows in front of the screen. Scores of people lay on the floor to watch the work and chat in the semi-darkness. For all my reservations about the piece, and my ennui at its conscious referencing of the work of others, the space took over and the work was transformed by it.

And so it comes back to this: the Turbine Hall is a difficult space for art, but a generous one for all that. On a scale that dwarfs even the largest museum spaces elsewhere and with an uncompromising industrial edge, the space seems to cry out for, say, the work of Richard Serra, but when offered something more modest it is able to accommodate it with aplomb.

If the artist achieves the improbable — and many, maybe most, of those so far commissioned to make works here somehow do, rendering my use of the word improbable at best highly inaccurate on the basis of so much evidence to the contrary — and turns this vast industrial cavern into a social space, the work within it can engage the audience and offer it a place to hang out, to play and maybe even to take pleasure in art made on the most ambitious of scales.

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Email required Address never made public. Name required. Follow Following. MostlyFilm Join 1, other followers. Sign me up. Nick had the idea of the genres, and to bring in the National Gallery for still life. Do these exhibitions question traditional ideas of landscape, still life and portraiture? Other people imposed the idea [of portraiture]. Antigone, the new film at the RA, mixes different places, objects, people and events—including the solar eclipse—sometimes in a single frame.

Even from very early on my first drawings were about the name Antigone, and I also took the idea to the Sundance Screenwriters Lab in , so it has been my unmade project for 20 years. For example, I filmed a quoit in Cornwall in February and then in August filmed the solar eclipse in Wyoming on the other half of the frame with no backup.

But it came out in the most beautiful way. I also did it with [the poet and writer] Anne Carson and [the actor] Stephen Dillane, with him asking questions in Cornwall and her answering them in Thebes, Illinois. I was very interested in doing something outside the exhibition space. Miniatures have to be about the face, so not my usual approach to making a portrait. I filmed three actors—David Warner, Stephen Dillane and Ben Whishaw—at different times but using masking so they are all inside one film frame, sharing the same photochemical space.

It was shot on 35mm cinemascope and then reduced to 16mm so that it could be shown as a miniature. And all three actors have played Hamlet, too. Asking an actor not to do anything is really difficult, so I drew David and Stephen—that was what they could understand as sitting for a portrait, even though it was on film.

The drawings were awful but that action gave them the relationship to a portrait. How do you choose who to portray? Each one came out of a different circumstance. Things happen because they happen, and they seem to be more important later. It is very interesting to look at all those art historians and how they attribute everything to a deliberate act. Everyone in your films looks remarkably unselfconscious and not as if they are being portrayed. Creating situations where they lose that self-consciousness is a huge part of it, but to be honest, it is a lot to do with the editing and finding the moment.

Of course, people are self-conscious. With Claes Oldenburg, we filmed him all day and it was only in the last 40 minutes that I realised we had a film. He was such a pro—he can play the game. As well as your work in 16mm and, more recently, 35mm film you are also known for being a passionate advocate and campaigner to save photochemical film from extinction. These films could not have existed in the digital universe because they are about the discipline and the eternal structure of film and how you expose blindly.

When I started to talk about film being a medium and not a technology was when they got it. We are still not in any safe place but, my God, the situation has shifted from , when Kodak so nearly stopped. Now they have a laboratory in the UK, which is open and working.

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Tacita Dean: Antigone / Kunstmuseum Basel - Gegenwart

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