By John Haber
After fifteen years, millions of internally displaced people, and well over five million dead, the earth itself should have turned to blood, or so it may seem in The Enclave, an aching, unnervingly beautiful video work by Richard Mosse whose subject is war in the Democratic Republic of the Congo.
By Seph Rodney
The motif that filmmaker Amei Wallach uses to lead viewers into her film Ilya and Emilia Kabakov: Enter Here is the Kabakovs’ anxiety. She shoots them in staccato glimpses . . .
By Liliana Rodrigues
LR – I understand that your new work is done in three-days per painting. I am curious about this time constraint you impose on yourself. In the past, fresco painters had to deal with the properties of freshly laid wet plaster and pigments; thus, they were forced to paint quickly. What does it mean for you, as a contemporary painter, to set a time constraint on yourself?
Architecture … is truly a fine art when its capabilities are once understood, when its true nature is once known, when its plasticity, its power for eloquence, its dramatic, its lyric resources, its fluency of expression are once grasped by the mind and the heart.
En la conferencia anual de la German Studies Association (EEUU) en septiembre, el Foro Cultural Austriaco presentó Three Tearless Histories (DoppelHouse Press, 2017) por autor austriaco Erich Hackl. El libro es una colección de tres historias personales que tratan con individuos afectados por el fascismo de mediados de siglo, incluida la luchadora por la resistencia austriaca Gisela “Gisi” Tschofenig, quien fue asesinada en 1945, seis días antes de la liberalización del campo Schörgenhub donde estaba detenido. En “Tschofenig: El nombre detrás de la calle,” Hackl relata la improbable boda de Gisi en el campo de concentración de Dachau e intenta resucitar los logros de ella a pesar de una pelea familiar que amenaza con enterrarla para siempre.
