• 新闻有温度——西部网新闻频道(陕西新闻网) news.cnwest.com 2019-05-11
  • 河北廊坊市对“小饭桌”进行综合治理 2019-05-11
  • 上海合作组织青岛峰会举行 习近平主持会议并发表重要讲话 2019-05-09
  • 奥运对手阵容强大 中国男篮征途艰难 2019-05-06
  • 南宁实现全国文明城市“四连冠” 2019-05-06
  • 热评丨游戏成瘾成疾 呼吁行业监管 2019-05-05
  • 端午节怎么吃粽子不发胖?习俗暗藏养生精髓 2019-04-10
  • 工信部:17年12批新能源车推荐车型目录 2019-04-10
  • 从古画名画中看历代龙舟竞渡和各地端午习俗 2019-03-29
  • 日照聚力招贤夯实动能转换新支撑 2019-03-28
  • 《钟馗捉妖记》反套路CP 杨蓉李子峰居然不发糖 2019-03-28
  • 梁翘柏晒与王菲灿笑合照 配文工作愉快引人期待 2019-03-20
  • 今年工资咋涨?多地发布2018年企业工资指导线 2019-03-20
  • “温暖向阳,助梦小康” 飞鹤乳业以行动传递企业大爱 2019-03-14
  • 北京现代ENCINO领衔 老爸心仪座驾推荐 2019-03-13







  • Film
    Bidoun
    上海福彩选四开奖号码









    Peggy Ahwesh (b. 1954)


    From Romance to Ritual (1985)
    The Deadman (1989)
    Martina's Playhouse (1989)
    Nocturne (1998)
    She Puppet (2001)
    The Third Body (2007)
    Beirut Outtakes (2007)
    Bethlehem (2009)


    Over the last twenty years, Peggy Ahwesh has produced one of the most heterogeneous bodies of work in the field of experimental film and video. A true bricoleur, her tools include narrative and documentary styles, improvised performance and scripted dialogue, synch-sound film, found footage, digital animation, and crude Pixelvision video. Using this range of approaches, she has extended the project initiated by 1960s and '70s American avant-garde film, and has augmented that tradition with an investigation of cultural identity and the role of the subject.

    Ahwesh started out working in Super-8, attracted, like Stan Brakhage and Jonas Mekas before her, to the medium's evocation of home movies. For her, this was a subversively amateur form, and also a discourse that yielded traditionally female-gendered themes like home and family, relationships, and confessions, which she appropriated as scenarios. She and other filmmakers of the time, including Sally Potter, Su Friedrich, and Leslie Thornton, had little use for the primarily formal strategies of the structural materialist film tradition (which was in any case dominated by men), and viewed conventions of direction, character, and performance as tools. For these filmmakers, feminism presented a viable avant-garde praxis: unlike the radical formal dislocations of materialist film, the political narrative inherent in feminist art was exceedingly resistant to cooptation by dominant media or advertising.

    Ahwesh's work, for all its reliance on theoretical concerns, isn't dry or forbidding. She values humor, playfulness, and, ultimately, the pleasure of the audience. The cluttered sets and fragmented stories in much of her work evince a baroque and almost mystical sensibility, with a lineage including the ornate films of Jack Smith and Kenneth Anger. Of course, this is a mysticism that locates its systems of meaning in mass culture, and in recent years Ahwesh has expanded her work to consider the techniques and critiques of nascent digital culture, including videogames and the Internet.

    Ultimately, Ahwesh has developed a practice that insists on political and social topicality, handled with theoretical and formal rigor, while remembering the audience. It is her lighter touch that has helped make her work, densely critical as it is, so accessible to so many people. She draws them into the world and traditions of avant-garde film and video, where, as she has remarked, "there's nothing to prove and no money to make," only the pleasures of the text.

    Peggy Ahwesh was born in 1954. She received her B.F.A. from Antioch College. Her work has been widely shown, at the Solomon R. Guggenheim Museum, New York; Yerba Buena Center for the Arts, San Francisco; the Balie Theater, Amsterdam; the Filmmuseum, Frankfurt; the Rotterdam International Film Festival, Rotterdam; Museu d'Art Contemporani Barcelona (MACBA), Barcelona; the Wexner Center for the Arts, Columbus, Ohio; the Whitney Museum of American Art, New York; and The Museum of Modern Art, New York, among other venues. Her numerous awards include an Alpert Award in the Arts, a John Simon Guggenheim Memorial Foundation Fellowship, and grants from the Jerome Foundation, Creative Capital, and the New York State Council on the Arts. She teaches at Bard College, Annandale-on-Hudson, New York.

    Ahwesh lives in Brooklyn, New York.-- EAI

    These titles are available for exhibitions, screenings, and institutional use through Electronic Arts Intermix (EAI), NY. Please visit the 上海福彩选四开奖号码 for further information about this artist and work. The EAI site offers extensive resources for curators, students, artists and educators, including: an in-depth guide to exhibiting, collecting, and preserving media art; A Kinetic History: The EAI Archives Online, a collection of essays, primary documents, and media charting EAI's 40-year history and the early years of the emergent video art scene; and expanded contextual and educational materials.


    RESOURCES:
    Peggy Ahwesh in UbuWeb Sound










  • 新闻有温度——西部网新闻频道(陕西新闻网) news.cnwest.com 2019-05-11
  • 河北廊坊市对“小饭桌”进行综合治理 2019-05-11
  • 上海合作组织青岛峰会举行 习近平主持会议并发表重要讲话 2019-05-09
  • 奥运对手阵容强大 中国男篮征途艰难 2019-05-06
  • 南宁实现全国文明城市“四连冠” 2019-05-06
  • 热评丨游戏成瘾成疾 呼吁行业监管 2019-05-05
  • 端午节怎么吃粽子不发胖?习俗暗藏养生精髓 2019-04-10
  • 工信部:17年12批新能源车推荐车型目录 2019-04-10
  • 从古画名画中看历代龙舟竞渡和各地端午习俗 2019-03-29
  • 日照聚力招贤夯实动能转换新支撑 2019-03-28
  • 《钟馗捉妖记》反套路CP 杨蓉李子峰居然不发糖 2019-03-28
  • 梁翘柏晒与王菲灿笑合照 配文工作愉快引人期待 2019-03-20
  • 今年工资咋涨?多地发布2018年企业工资指导线 2019-03-20
  • “温暖向阳,助梦小康” 飞鹤乳业以行动传递企业大爱 2019-03-14
  • 北京现代ENCINO领衔 老爸心仪座驾推荐 2019-03-13
  • 2元彩票最高中多少 超级大乐透中奖规则 pk10如何看七码 菠萝彩票论坛 炸金花的技巧 北京小赛车盛世 时时彩群 北京pk10漏洞有哪些 上海时时彩开奖公告 双色球近200期走势图表 彩票中奖为啥都要捐款 22选5开奖时间 北京赛车有规律走势吗 北京赛车猜冠军 pk10冠军固定公式 北京赛车外挂软件