Thematic Issue focusing on Photography, Film, and Video
On newsstands June 1, 2012
Vol. 31, No. 2 Issue No. 122
BORDERNOTES
Meeka Walsh explores sensation and reason through Daniel Heller-Roazen’s book, The Inner Touch: Archaeology of a Sensation. Walsh writes, “There’s a desirable time we seek, a temporal zone we can’t fix that is sensed when we nod for a fraction of a blinking eye in the back of a warm taxi; there’s a recollection that slips before we can name it, prompted by a tone in the voice of someone hurrying past us in the street; there’s a pattern of shadows—leaf shapes against a garage wall that transports us to no place we can name and carries with it a stab of grief; and there’s the profound desire we have for locating ourselves in these hovering, indeterminate, barely conscious modes or postures.”
BORDERCOLUMN
The recent revelatory German documentary on legendary artist, Gerhard Richter, directed by Corinna Belz is considered. Intriguing for the juxtaposition of Belz’ understanding of Richter’s creative process with the documentarian process itself, Gerhard Richter Painting acts as a highly-considered “show-and-tell display.”
INTERVIEWS
Designs on Life: An Interview with Arnaud Maggs
In an exceptionally timely interview, Robert Enright conducted a lengthy conversation with the noted photographer to uncover the imaginative spark that spawned Maggs’ decades-long career.
“Michael Snow said the artist must be exemplary, and I have always remembered that. There’s also the Sam Goldwyn line that says IM POSSIBLE. So the artist’s aspiration to be exemplary gets countered by the reality of the impossible. But I listen to Erik Satie very softly. And I would like, always, to have something very beautiful around me. That would be ideal.”
Arnaud Maggs has just been named the recipient of the prestigious Scotiabank Photography Award.
Directing the Truth: An Interview with Albert Maysles
In this intriguing interview, a candid conversation focusing on the films of Albert Maysles uncovers that his “life-long commitment to truth-telling situates him and his films, uncategorically, in the ecstatic order.” Maysles discusses his brother, David, his own beginnings as a psychologist, and how he navigated the emotional investment he creates with the subjects of his films.
ARTICLES
Beauty’s Progenitor: The Film Art of Jonas Mekas by Daniel Baird
Daniel Baird beautifully considers the films created by Jonas Mekas. Focusing on the most recent film, Sleepless Nights Stories, a charismatic, thoughtful, and gentle Mekas is illuminated. “In the end, despite the endless searching, Mekas claims to still understand nothing about his life,” Baird noted. ”I know nothing of what life is,” Mekas said. “I don’t know where I come from, I don’t know where I am, but I have seen some brief moments of beauty and happiness…I know I have experienced some moments of beauty and happiness, as I’m moving forward I know I’ve experienced some brief moments of beauty, my friends.’”
Head On: Flashpoints and Clashpoints in the Art of Adad Hannah by Katie Addleman
Katie Addleman frames photographer Adad Hannah‘s near meteoric rise to success starting with his early beginnings at Emily Carr University of Art and Design and following him to exhibitions in major museums in Bucharest, Shanghai, Santiago, and Sydney. Through careful readings of Hannah’s work, Addleman arrives at the conclusion that “it is in their ineffable humanness, their denial of being photographs, that the heart of the work is located.”
ALSO IN THIS ISSUE
Our ART PAGES features the Crowhurst Project by Michael Seymour, who, enchanted by the narrative of Donald Crowhurst’s legendary 1968 seafaring deception, created a body of work that weaves engaging details throughout various mediums.
BORDERVIEWS on Winnipeg’s Contemporary Dancers‘ 97 Postions of the Heart, a performance based on Elizabeth Smart’s By Grand Central Station I Sat Down and Wept, the 1945 rhapsodic novella of “rebellion, courage and amorous folly”; playful architectural narratives in Thomas Hillier‘s The Emperor’s Castle; the flawless structure and tone in Aryan Hoekstra‘s experimental filmworks; and Michael Seymour‘s probe into the condition of being adrift, spatially and psychologically, ultimately transforming himself into “an adventurer in a sea of space.”
Our extensive CROSSOVERS section features reviews of Iain Baxter&, David Alexander, Sky Glabush, Anthony Burnham, Michael Dumontier, Krisjanis Katkins-Gorsline, Greg Snider, Jack Tworkov, Eric Lesage, Dana Schultz, and the group shows: Streaming Alterity and Chronicles of Disappearance.
ABOUT BORDER CROSSINGS
Border Crossings is a quarterly cultural magazine published in Winnipeg. Its subject is contemporary Canadian and international art and culture, which the magazine investigates through articles, columns, reviews, profiles, interviews, and portfolios.
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Media Contact: Lisa Kehler, T 204 943 7763 / projects@bordercrossingsmag.com
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*Image above:
Cover: Arnaud Maggs, After Nadar, Pierrot Turning (detail), 2012. Digital chromogenic prints,, 49.5 x 42.5 cm each, 153.7 x 175.3 cm installation. Photograph: Tony Hafkenscheid. Courtesy Susan Hobbs Gallery, Toronto.
