[Frameworks] Redmond Entwistle and Tomonari Nishikawa at PS1 Tomorrow

From: Thomas Beard (email suppressed)
Date: Fri Oct 08 2010 - 08:04:34 PDT

*MoMA PS1*
22-25 Jackson Ave at the intersection of 46th Ave
Long Island City, NY 11101

Greater New York Cinema

Redmond Entwistle and Tomonari Nishikawa*
*Screening of recent work followed by a conversation with the artists.
Saturday, October 9, 2010 at 3pm

Tomonari Nishikawa, *Sketch Films #1-5*, 2005-2007 (Super-8mm, 15 mins)
Tomonari Nishikawa, *Tokyo - Ebisu*, 2010 (16mm, 5 mins)
Tomonari Nishikawa, *Shibuya - Tokyo*, 2010 (16mm, 5 mins)

A 21st-century city symphony constructed through meticulous single-frame
shooting and in-camera editing, Tomonari Nishikawa’s *Sketch
Films*transform everyday elements of urban design—a neat grid of
windows, the
corner of a sign—into a kaleidoscopic spray of rapidly mutating geometries.
Metropolitan landscapes are also the subject of his recent *Tokyo - Ebisu*and
*Shibuya - Tokyo*, where, through an elaborate series of maskings and
superimpositions, he continues to advance the formal possibilities of
small-gauge abstraction.

Redmond Entwistle, *Monuments*, 2009 (16mm, 30 mins)

The artists Robert Smithson and Gordon Matta-Clark are revived from the dead
and ejected from their makeshift mausoleums in New York by the forces of
redevelopment. Led through New Jersey by a young Dan Graham, they debate
their artistic positions with the 'non-actors' they encounter at the sites
of their work in New Jersey.

In keeping with much of the science fiction writing that inspired Robert
Smithson and his colleagues, *Monuments *is a voyage to the Lost World of
New Jersey. Like 19th century adventurers, these artists reacted to the
crisis in modernism by seeking out material at the margins, and New Jersey
was the first and recurring figure of this margin.

*Monuments* re-enacts the narrative subtext of Post-Minimalism with some of
the crude poetry of the American B-movie, drawing on the treatment of the
figure in the landscape in North American cinema from sources as diverse as
Fattie Arbuckle and Buster Keaton's 'two-reeler' films and John Ford's *Young
Mr. Lincoln*.

Many of their early works were made in or engaged with the landscapes of New
Jersey, and the film retraces Post-Minimalism's abiding interest in the
relationship between New York and New Jersey. What at first seems to be a
film about art history, becomes a portrait of the areas of New Jersey that
were once the industrial belt of New York, and a second story emerges of the
demise of industry in the region and the changing position of North America
within a globalized economy. - LUX

FrameWorks mailing list
email suppressed