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SUMMARY:Kel Mur: Converge at Pyle Center
DESCRIPTION:Soft bodies clasp together like puzzle pieces in Converge: Studies Of Cohabitation\,  a show in which multimedia conceptual artist Kel Mur explores what it means to share a home with her romantic partner. By displaying plaster molds of their bodies wrapped around each other\, with strips of bedsheets soaked in wax enveloping them\, Mur demonstrates the tension between the resilience and tenderness of a relationship. Wax as a material is soft and pliable when it is warm. But when it is cold\, it is hard and easily breakable. Love can be understood the same way. And these sculptures painstakingly capture the fineness of this level of intimacy. \nMur likens the different studies to a cocoon—something that encloses another thing to protect it. The lovers\, in all their tenderness\, try to defend one another. Their limbs are wrapped around each other’s backs as armor. The ethos of the artwork is unflinching and unafraid. It shows how living together involves building a safe space that cultivates change and growth for people\, much like a chrysalis. It is permeable and vulnerable but still has the capacity to hold those inside it. As the people inside grow together in and around each other\, the cocoon grows around them as well. The home adapts and this is seen in the ways the figures shift and change around the space. \nWhat strikes me most about Converge is how it points us to our capacity for grace and mercy. We come together in our frailness\, humanity\, and vulnerability and hold tightly to the ones we love until we feel their hearts beating close to ours. It is a great risk\, but I forget it as soon as I see the two become one. When I see the figures\, I can imagine them breathing one another’s air\, living in one another’s skin\, and I remember the joy of knowing and being known by someone so deeply that we live and move and have our being in them and with them. Oh\, what beauty. \n—Hannah Keziah Agustin \nNote: Gallery hours for this show are 7 a.m. to 4 p.m. during the week and during special events on weekends and evenings.
URL:https://tonemadison.com/event/kel-mur-converge-at-pyle-center/
LOCATION:Pyle Center\, 702 Langdon Street\, Madison\, 53706\, United States
CATEGORIES:Art
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SUMMARY:Remembering Paolo Gioli at Chazen Museum Of Art
DESCRIPTION:A photo of Caroline Kennedy as a child is layered with an image of a child wounded during the Vietnam War in Paolo Gioli’s “Children” (2008). \nFilmmaker Paolo Gioli (1942-2022) may not be a common reference for the movement of structural cinema. But his diverse and consistent body of work\, stretching from the late 1960s to the 2010s\, is a rich and varied exploration of celluloid that often asks the viewer to reconsider the mechanics of their own seeing. In observance of Gioli’s death in 2022\, the UW Cinematheque is hosting a career-spanning short film program of his work at the Chazen Museum Of Art\, which will be introduced by UW-Madison professor Patrick Rumble\, arguably the leading scholar on Gioli.  \nThe eight-film program begins with Traces Of Traces (1969)\, an animated film made with varied materials including the oil impressions from his own skin. As Gioli’s first film\, it is more deliberately abstract than many of his others\, exploring an on-cell animation style most commonly seen in Stan Brakhage’s films. Line patterns move between dense cross-hatches and looser\, globular forms. \nThe remainder of the program includes Gioli’s many experiments with found footage\, including Children (2008) which juxtaposes images of the privileged Kennedy family with photos of war-torn Vietnam\, as well as Faces Of An Unknown Photographer (2009)\, which mines the collection of an anonymous early 20th-century photographer to re-photograph the materials and create dense superimpositions at different shutter speeds. \nThis ability to study and recreate old work with new methods runs through Gioli’s filmography; he uses the medium to rediscover and reanimate lost materials\, and does this most extensively in Little Decomposed Film (1986) with a series of motion studies that echo Eadweard Muybridge’s pioneering work. Borrowing only printed images from textbooks\, Gioli stitches together a series of short animations\, each simulating motion from as few as two or three still images with stroboscopic imaging and flicker effects. The dazzling effect calls the viewer’s attention to how\, and at what exact point\, we feel like we’ve seen a “moving” image. \nIf Gioli’s work possesses a psychotropic effect\, it’s a self-aware interrogation of the act of seeing itself. Face Caught In The Dark (1995) most evocatively achieves this as a piece similarly made from the leftover materials of a long-gone photographer. Here\, Gioli photographs the portrait photographer’s leftover glass plates (a pre-film era way to capture an image impression) and sequences them in a ghostly montage. Each thin impression is barely legible as a face on its own. Shots accumulate as a sort of all-face\, like watching a granular prototype of the now-ubiquitous face-generating AI. It’s an eerie effect\, and one that brings our awareness not only to the act of seeing but to film’s ability to trans-historically reanimate. \nIf all of this sounds heady and Frankensteinian\, the program also includes the palette-cleanser Natura Obscura (2013)\, one of Gioli’s most purely beautiful films. Using a “pinhole” style (shooting through a tube pin-pricked with small holes)\, Gioli reduces the frame and surrounds it with tiny streams of light. The experimentation feels most jubilant. Each image is covered in a staticky halo with the clear footage at the center of the frame like the tip of a sparkler. \nIn a varied career that restores meaning to the filmic term of “experimental\,” Gioli’s restless innovation made him a consistently interesting\, if not widely known\, filmmaker. His work reminds us that even the most conceptual work can have a potent psychological effect. \n—Maxwell Courtright
URL:https://tonemadison.com/event/remembering-paolo-gioli-at-chazen-museum-of-art/
LOCATION:Chazen Museum Of Art\, 800 University Ave\, Madison\, WI\, 53706\, United States
CATEGORIES:Film
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