“ No Frames, No Brushes, Just a Limitless Flickering Screen”

In the article “ No Frames, No Brushes, Just a Limitless Flickering Screen” from THE GAZETTE, published en January 18th, 2006, Holland Cotter made an art review about the reaction of the artists toward the politic anxiety in an exhibition of Contemporary Art.

Many artists have recently appeared, changing the angle of approach and their mode of expression from declarative to interrogative in with regard to the political topic. This change is exposed in the Swiss Institute by the subtext of “Low-Intensity Conflict” which is a program of short films and videos. Those films can cast political topic in many forms, like a documentary or fiction, tragedy or comedy, conclusive or open-ended.

The art review in the article starts with a very short film titled “30 Second Hate/Suckers” by B. Boyce which uses cartoons to show the current White House administration. In the second place, the film “How to Make a Refugee (Berlin)” by Phillips Collins who uses the documentary form to interview a large refugee Kosovar family. Another documentary by Dmitry Vilensky “Enema to Capitalism” presents an anarchist community in St. Petersburg in a new international resistance culture. Then, the artist Seth Price exhibits “Folk Music and Documentary” where a young man in front of the camera voicing negative views about war and globalism. Finally, three different films in a monologue form, “Symbioses Liberation Army” by Sharon Hayes which talks about her kidnapping in 1974, “In Search of Suspicious” by Marc Bijl, that shows the actions of a military police through a bomb. And the last one by Andrea Geyer, “Reference Over Time”, also a monologue about two refugee men who talk about political problems.

In the end of this art review, the writer concludes that this exposition is a simple device with any effective political action, but splendid because it has a reaction.

I have not seen the exhibition, but I already have a reaction. I think Art is one of the ways of expression more subtle. But that does not mean that it is not effective. I like when artist express their felling across the art. However, in this case they express the feelings of a community, of a nation, of a country, of a world with different points of view with respect our political situation. So, maybe is a good idea to experience that exhibition at the Swiss Institute, 495 Broadway, near Spring Street, in SoHo, New York.

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In my home town, Caracas; Venezuelans just experience two seasons every year: dry and wet. 

I came to Montreal in spring 2005, at the beginning the impression I got was a depressed city, gray, dark, cloudy, all the time was raining. But suddenly everything change, beautiful flowers around the city arrived to give me a pleasant welcome. At that point I was happy to discover the beauty of Spring.

Nevertheless, when summer arrived, the city change 100%. Before, the city was underground, hiding from the rain and wind. But when summer arrived and with it the sun, the streets filled people, who decided to enjoy the sun. Parks were full of people who wanted a tan. The city is out from the metro, from the theater, from the malls, from underground. The city received festivals and events in every corner. Squares and streets were taken. The dynamic of the city was “the movement outdoor”. 

The difference between spring and summer was amazing. I always experiment my city outdoor, and I never noticed the power of the sun. 

I could say the discovery of seasons, it has been a nice experience.