Tag Archives: video

Lutz Bacher at Treize, Paris

11 November 2022

By Alex Turgeon

The martyrdom of Saint Bartholomew, one of the twelve apostles of Jesus, is said to have been the result of being flayed alive for his acts of Christianity by the Armenian King Astyages.1 The saint is often depicted in votive images carrying his flayed skin about him like a cloak, his anatomical musculature exposed as if it were truly rid of all worldly possessions from his selfless act of piety. One of the most iconic representations of Saint Bartholomew is his inclusion in Michelangelo’s The Last Judgement (1535-1541), which was part of the artist’s commissions for the Sistine Chapel. There, Bartholomew is presented under the right foot of Jesus, carrying his representative cloak of flesh in-hand. The face of this draped skin is often considered a self-portrait of the artist Michelangelo himself, rendered in the hollow folds of its mask-like face—absent of a body.

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Emptiness Ran Rife: Rina Lyshaug’s Narratives from the Emptiest Place

17 January 2022

By Stephanie Wu

Amidst the busy network of overhead trolleybus wires, two massive LED screens are situated on one of the many glass-lined commercial buildings that define the landscape of Downtown Vancouver. With a height spanning two floors, the screens emit their bright light towards the ground for hundreds of pedestrians at Robson and Granville Streets, reflecting and illuminating the area’s commercial activity. Hosted by the City of Vancouver’s public art program, Platforms 2020: Public Works, these VanLive! Screens show Vancouver-based emerging artist Rina Lyshaug’s work, Narratives from the Emptiest Place (2019).

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Untitled (eyelids): Jordan Loeppky-Kolesnik at PS311

1 March 2019

By Zoe Koke

 

In 2018, artist Mat O’Hara modified an adjoined section of his MFA grad studio into an ad-hoc project space called PS311. The space opened with Untitled (eyelids), a video installation by Jordan Loeppky-Kolesnik. eyelids was created in the throes of Jordan’s final MFA year, and it bears the marks of this experience—its talk of poison, its intense introspective focus, its peculiar saturninity illustrated by a bubbling cauldron of slime. If you theorize something like MFA aesthetics, I’m sure it would include a healthy dose of suffering. But eyelids doesn’t stop at suffering; it moves through its own breed of catharsis, and from that surfaces the potential for something else. It plays with internal anguish, following a wave until the feeling changes. This is why I’m drawn to it, why I wanted to write this. Jordan and I—long-term friends and new collaborators—share a desire to make something heartfelt. We often ask ourselves why this seems so inane in the current art climate. Or just in our culture, where oversharing or letting your guard down isn’t palatable, it’s to be avoided, ironically mainly in the realm of making. The awkward uncoolness of intuition and sincerity (and a privileging of distancing tactics) is enforced by context cues, groupthink, but never explicitly, for that would be too insensitive. Continue Reading

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