This is a creepy little horror film that Lars von Trier made when he was fourteen years old. It’s called Why Try to Escape from Which You Know You Can’t Escape from? Because You Are a Coward! and you can read more about it here.
Detail from James Franco’s ‘New Untitled Film Still 21′ 2013 (left) and detail from Cindy Sherman’s ‘Untitled Film Still 21′ 1978 (right)
Art world darling (and certified creep) James Franco recently launched a new and appallingly bad photo series at Pace Gallery, New York, that riffs on Cindy Sherman’s iconic film stills. “Cindy is an artist who used cinema as a source for her work; she ‘played’ at being an actress” says Franco. “I am an actor who inserts himself into his work. I am fully embedded in Hollywood, but these photos allow me to take a step to the side, look back, and refashion the work I do in Hollywood. I am at the same time actor, critic, artist, and character.” Hmm. When asked about Franco’s appropriations last week, Sherman said: “I was flattered, I can only be flattered. I don’t know that I can say it’s art, but I think it’s weirder that Pace would show them than that he would make them.” Not exactly a glowing endorsement then…
LOL’s just discovered a suite of early films by Raymond Pettibon, all shot by the artist in 1989 using home video equipment. The tapes address various elements of West Coast American subcultures from Charlie Manson and The Family (in Judgement Day Theatre: The Book of Manson) to the kidnapping of Patti Hearst by militant group The Symbionese Liberation Army (in Citizen Tania). The last of these videos, Sir Drone (above), focuses on the emergence of the American punk movement, to which Pettibon was intrinsically linked though his work with Black Flag and SST Records. In it, Mike Watt of the Minute Men and the late Mike Kelly (formerly of Destroy All Monsters) play teen punks trying to start a band. Pettibon himself also makes an appearance, as a character called Vomit. Shot over two days, Sir Drone contains a rambling script read awkwardly from cue cards. Despite their crudeness, Kelly later claimed that “Raymond’s tapes are strangely moving: he is a brilliant script writer”. LOL leaves you to be the judge of that…
Posted in Art, Artists, Film, Music
Tagged Black Flag, Charles Manson, Citizen Tania, Destroy All Monsters, Judgement Day Theatre: The Book of Manson, Mike Kelly, Mike Watt, Minute Men, Patti Hearst, Raymond Pettibon, Sir Drone, SST Records, Symbionese Liberation Army
This time care of the late Polish artist Wojciech Bruszewski
(via A Sound Awareness).
How is it that Leg of Lamb has only just discovered Derek Jarman’s ode to Marianne Faithful’s 1979 album Broken English
?! Made in the same year as the album’s release, the short, 12 minute film features 3 songs from the record: ‘Witches’ Song’, ‘The Ballad of Lucy Jordan’ and ‘Broken English’ accompanied by a mix of found footage superimposed with strange, ritualistic scenarios and clips of the singer – imagery made all the more haunting given Faithfull’s contemporaneous descent into addiction.
Above: excerpt from the film Easy Rider (1969), directed by Dennis Hopper
Photographer Polly Borland and her Director husband John Hillcoat (of The Road and Ghosts of the Civil Dead fame) have joined forces to create a short film in collaboration with band IO ECHO for MOCAtv. In it, found footage is spliced together with classic Borland figures, their features distorted by dowdy stockings and clumsy protrusions.
Hillcoat’s no stranger to making music videos, he’s directed them for the likes of Siouxsie and the Banshees, Depeche Mode and a couple for his good pal Nick Cave (who Borland has photographed on a number of occasions). Above is the latest Hillcoat/Cave collab – featuring Ray Winstone no less – for Cave’s new single Jubilee Street.
Posted in Art, Artists, Film
Tagged Depeche Mode, IO Echo, John Hillcoat, Jubilee Street, MOCAtv, Nick Cave, Polly Borland, Ray Winstone, Siouxsie and the Banshees
Pina was unequivocally Leg of Lamb’s top film of 2011. Director Wim Wenders’ homage to the late German dancer and choreographer Pina Bausch (who died suddenly, two days before filming commenced) is an exuberant celebration of the artist’s life and practice. In the film, members of the Pina Bausch dance company (the Tanztheater Wuppertal) perform excerpts from some of the choreographer’s key pieces in and around her home town. Bausch embraced the big themes – love, joy, despair – with a disarming degree of sensitivity and humour, and the film is a moving testament to the dancer and her legacy. The same can’t be said of a more recent tribute.
Late last year, AnOther Magazine commissioned a short film (above) featuring Rachel Weisz to coincide with the launch of their Winter issue. Directed by Craig McDean, Weisz’s series of ‘non-narrative micro performances’ were directly inspired by Pina. But let’s face it, whacking on some lippie and staggering around in a pretty dress just isn’t going to cut it…
Three years ago, American director Alison Klayman began shooting a feature-length documentary on Ai Weiwei. Ai Weiwei: Never Sorry charts the Chinese artist’s preparation for major museum shows (including ‘Sunflower Seeds’ at Tate Modern), his down-time with family and his intensifying clashes with authorities. Ai’s incarceration in April this year was obviously a major turning point for the project, drastically altering its course and context. Now in post-production, you can contribute to the realisation of Ai Weiwei: Never Sorry by making a donation here, and stay up to date with the latest developments on Twitter.