The Shirley Clarke Project by Milestone Films –


“DANCER, bride, runaway wife, radical filmmaker and pioneer —Shirley Clarke is one of the great undertold stories of American independent cinema. A woman working in a predominantly male world, a white director who turned her camera on black subjects, she was a Park Avenue rich girl who willed herself to become a dancer and a filmmaker, ran away to bohemia, hung out with the Beats and held to her own vision in triumph and defeat. She helped inspire a new film movement and made urgently vibrant work that blurs fiction and nonfiction, only to be marginalized, written out of histories and dismissed as a dilettante. She died in 1997 at 77 and is long overdue for a reappraisal …”



During my research on Yinka Shonibare MBE I noticed that nearly all catalog texts or articles in art magazines rewrite always the same topics: How Shonibare works with the Dutch wax, about colonialism, negritude etc. An exception marks Rachel Kent in her clear analysis of Shonibare and narrativity:

„Further themes of inversions and doubling figure strongly as illustrated by the cyclical, looped format of Shonibare‘s films. King Gustav III, for example, gets up to dance one more after beeing assassinsnted. Shonibare has expressed his interest in film and narrative structures in a detailed interview wthin this publication, noting; ,I did not want to make a film with a beginning, middle and end; instead I wanted to explore the reflexivity of the film and and how it reflects back on itself‘. Speaking of Un ballo in Maschera, he could equally have been referring  to Odile and Odette with its literal mirroring of form and content.“
(Kent, Rachel: „Time and Transformation in the Art of Yinka Shonibare MBE.“ In: Yinka Shonibare MBE (Ausstellungskatalog Sidney). Prestel: Berlin u.a. 2008, 12-23, 20.)


April 15, 2012


In Pinakothek der Moderne in Munich is now the show “FRAUEN – PABLO PICASSO, MAX BECKMANN, WILLEM DE KOONING” on view. Unfortunately it is not more than a representative statement of big art institution without any intellectual approach. Of course, the original paintings of Picasso are so impressive, which no catalogue reprint can ever display. But is this enough for a curatorial concept? Beckmann was a talented illustrator – interested in the object, but not in the way of painting. And why are the great paintings of de Kooning integrated? No text or other hints for a concept, which you can follow.

The text Taking a bath with “the best man in France” (2012) by Susan Silas is a very interesting artistic statement on Albert Camus, Roland Barthes and the gaze/death of the subject.