Undisclosed Beauty – Anders Weberg

3 of 7
Undisclosed Beauty (2008, 8.7MB, 3:13 min)

We’ve shown Anders Weberg’s work here on a number of occasions.
He’s clearly a serious artist & has made some very potent work,
I find myself a bit at a loss with this latest piece – it doesn’t work for me.
My assumption is that it’s me who is not looking right, but I find the
aestheticising of what looks like some quite violent and disturbing
imagery both trite and somewhat suspect.
(And the music over-eggs it for me too…)
The piece recently won a prize in Ljubljana so I could well be in a minority.
Of course it’s the mark of a rich & challenging body of work that the artist is ahead
of the commentators so I look forward perhaps to reconsidering in weeks, months or years…

Sam Renseiw again

patafilm #609 (2008, 18.2MB, 4:27 min)

No excuse offered or needed to show work by the Danish
magician, Sam Renseiw. (When I called him the ‘genius Dane’
here a little while ago, he wrote me, modestly demurring,
but he is, Dear Reader, he is. Both.)
He says “…still imbricated in the subtle magic of simple things
and situations…”, which is unusually accurate for an artist
self assessment.
Beautiful work.

Two from Robert Croma

Thibaut Is Singing On Oberstein Road
Thibaut Is Singing On Oberstein Road (2008, 15.5MB, 2:36 min)

Rules of Engagement
Rules of Engagement (2008, 18.1MB, 2:15 min)

Tremendous work from Robert Croma.
The Iraq piece is harrowing but you should watch it nonetheless.
The Thibaut piece is simply exhilarating.
I was trying to figure out what exactly makes this work so outstanding.
I don’t think it’s just the fact that it is technically so good (although it is).
It’s to do with Croma’s taste, judgement & instinct, or at least how he
deploys these to tell us something, or rather to intuit-to-us something
about being a human being.
You couldn’t make a rule of it, for that would render it inert & mechanical,
but, loosely, in these two pieces, it seems to me to lie in a going-beyond
-the-expected – a process with its heart in the little codas which open
out the pieces in a quite extraordinary way.
So the Iraq piece, though supremely well done, is initially not a
million miles away from much other remix type work, but it is the final
calling-to-attention, the framing, of the gait of one of the people
whom we have just seen obliterated that re-doubles its horror
but also creates the tiniest ground for hope in the inescapable
(thanks to Croma) clear recognition of our common humanity.
A similar process occurs in the Thibaut piece
– its potency initially seems to reside in the simplicity of the
camera exploring the still, the conjunction of the new and old
imaging technology and the simple & moving fact of evocation
of time passed.
It’s beautiful; and many would have been tempted to leave it there.
The final section is a risk – it could have have the opposite effect
to what it actually does; it could have closed off, made pat.
Here perhaps the technical fluency does play a defining role but the
effect is the exact opposite of closure -we’re left, once again, in a very
different way, filled with a sense of the mystery & complexity & possibility
(& the fragility) of being human.

<em>'Ce soir je vous propose'</em> -<br> transcendence from <em>Dan Canyon</em>

3 of 7
3 of 7(2002, 74.7MB, 4:00 min)

4 of 7
4 of 7(2002, 105MB, 4:00 min)

Two (from a series of seven) heartbreakingly beautiful, lump-in-the-throat-evocative
lyric poems about being young, disguised as music video/documentaries.

Dan Canyon is a natural filmmaker. He so is.
What more to say, except nice to see Blackheef pronounced correctly?

See all seven.

Creation Myth by Robert Todd

Robert Todd – Creation Myth (2007, 39.3MB, 5:46)

Robert Todd is a master of 16mm. With an enormous
catalog behind him and no sign of his work ceasing in
the near future, Todd is slowly migrating his work onto
his personal website.
What a treat for us.

This piece, Creation Myth, is one of several I will repost
here over time, to show respect for these subtle, moving

Todd says: “Love of sky, love of earth and air, with
water helping us along form the backdrop to this
reflection of life-essence and its evolution.”

And, full disclosure: Rob has previously been my
professor, and I personally consider him one of
the kindest, most knowledgeable and professional
working artists under whom I have had the privilege
of studying. I wish I had been better able to absorb
his teachings at the time. He is truly a Bolex genius.