Published June 9, 2010 by Molly
Sarah De Bondt has done a whole bunch of things we could praise, but we’re gonna hunker down and focus on a few for now.
Her project The Free Library appeared a few years ago in New York and Philadelphia, and was based loosely on a film (La Chinoise) by Jean-Luc Godard. Erase any thoughts of pretense from your mind, however: the traveling installation turned each gallery into a functional library-type space where visitors were encouraged to hang out, browse books, lounge on beanbags and explore the space.
“Overthrowing the King in His Own Mind” is another highlight of the De Bondt oeuvre, a persimmon-colored catalogue, poster and invitation to an exhibition at Kunstmuseum Solothurn, Switzerland. Finally, we suggest checking out Wiels, De Bondt’s ongoing work for the new contemporary art center in Brussels.
Published June 30, 2009 by Molly
One of the great disappointments availed to film lovers is the circumstance of hearing a director talk about his work. Too often (not mentioning names here) a director’s conception of his own work jars inharmoniously with a viewer’s, especially if the film is dear to the latter. The result can be crushing.
What to do, what to do? Start by procuring a copy of Robert Bresson’s wee volume on filmmaking, Notes on the Cinematographer. Comprised of the great director’s memos to himself, the book is full of accessible, elegant epigrams that illuminate (rather than cloud) Bresson’s films–and, in their own way, whole swaths of cinema outside the director’s ouevre.
Godard said that “Bresson is the French cinema, as Dostoevsky is the Russian novel and Mozart is German music.” Whether you agree or not, it is undeniable that the director of Pickpocket and Diary of a Country Priest has a way with the written word as well as the moving image. Makes a fitting antidote to all those Fresh Air interviews that you wish you could delete from your brain’s hard drive.