Political
After Photoshop: Manipulated Photography in the Digital Age
Over the past twenty years, photography has undergone a dramatic transformation. Mechanical cameras and silver-based film have been replaced by electronic image sensors and microchips…
Alfredo Jaar: The way it is. An Aesthetics of Resistance
The Neue Gesellschaft für Bildende Kunst (New Society for Visual Arts) presents an exhibition by Chilean artist Alfredo Jaar simultaneously at three Berlin institutions. The monographic show offers a retrospective survey of an artistic production spanning close to four decades.
2 or 3 Things I Know About Her By Jean-Luc Godard
2 or 3 Things I Know About Her is perhaps Godard’s most revelatory look at consumer culture, shot in ravishing widescreen color by Raoul Coutard
Gabriel Orozco’s Asterisms – Deutsche Guggenheim Museum
The Deutsche Guggenheim presents Asterisms, a two-part sculptural and photographic installation by the Mexican-born artist Gabriel Orozco and the eighteenth project in Deutsche Guggenheim’s series of commissions
Made in USA by Jean-Luc Godard
Jean-Luc Godard directed this brightly colored, pop-art homage to American crime cinema, which somehow finds room for extended commentary on leftist politics and the corrupt nature of advertising.
Tate Modern: No Lone Zone
‘No Lone Zone’ is a military term designating an area where, for reasons of safety and security, the presence of just one person is not allowed. The phrase can also be used metaphorically to describe a highly sensitive or unstable place, such as the vulnerable environments that proliferate in the context of postcolonial globalisation.
!Women Art Revolution
Women Art Revolution annotates the evolution of the Feminist Art Movement in the United States from the personal perspective of feminist artist and film director Lynn Hershman Leeson.
Fahrenheit 451 by François Truffaut
François Truffaut’s Fahrenheit 451 brings Ray Bradbury’s big-brother world into crisp focus, employing a thought-provoking production design full of muted technicolor and almost entirely devoid of written language — even the opening credits are spoken. The
Pierrot Le Fou by Jean-Luc Godard
Godard’s Pierrot Le Fou is blissful with color imagery by cinematographer Raoul Coutard. It is one of the high points of the French New Wave, and was Godard’s last frolic before he moved ever further into radical cinema.
Yinka Shonibare: Addio del Passato
British-born Nigerian artist Yinka Shonibare, explores the concept of destiny as it relates to themes of desire, yearning, love, power and sexual repression. In this exhibition Shonibare continues his explorations of Lord Nelson, the figurehead of the British Empire at its apotheosis.
Tout Va Bien by Jean-Luc Godard
France | 1972 | 96 minutes | Color
www.criterion.com
SYNOPSIS: In 1972, newly radicalized Hollywood star Jane Fonda joined forces with cinematic innovator Jean-Luc Godard and collaborator Jean-Pierre Gorin in an unholy artistic alliance that resulted in Tout va bien (Everything’s All Right). This free-ranging assault on consumer capitalism and the establishment left tells the story of a wildcat strike at a sausage factory as witnessed by an American reporter (Fonda) and her has-been New Wave film director husband (Yves Montand). Tout Va Bien is a masterpiece of radical cinema, a caustic critique of society, marriage, and revolution in post-1968 France.