STILL: CHAPTER 2

Editorial team

Welcome to the second chapter of STILL – Studies on Moving Images, a recently launched experimental platform through which Fondazione In Between Art Film is expanding its mission to study and promote the culture of moving images.

On this occasion, we are pleased to share with you another thought-provoking arrangement of texts stemming from moving-image works and exploring the sociopolitical implications they come to tap into, both in their use of material and subject matter.

The second chapter opens with an inspiring conversation between artist Thao Nguyen Phan—whose latest work, Becoming Alluvium (2020), has recently entered in our collection—and Zoe Butt, artistic director at Factory Contemporary Arts Centre, Ho Chi Minh City. “Imprinting Parallel Histories” discusses the artist’s painting and filmic methodology that draws upon daydreaming and poetry as imaginative tools for resistance.

Resistance is a political horizon that can be also found in Interregnum (2017), a video by artist Adrian Paci (also part of our collection), as its in-depth analysis by independent curator and writer Richard Birkett demonstrates. His essay, “A Politics of Memory,” describes how the artist, gathering film and televisual footage of national ceremonies held in response to the deaths of Communist leaders, composes a transnational and transhistorical scenography of mourning, emphasizing the political use of memory to build and reproduce fictive pasts, presents, and futures.

Similarly, a critique of the deceptive use of lens-based media is sustained by art historian and Chanel Curator for the Collection, National Portrait Gallery, London, Flavia Frigeri. In “Being Women: Seeing Feminism,” Frigeri charts the ways in which Italian filmmakers and artists Cecilia Mangini, Giosetta Fioroni, Marinella Pirelli, Laura Grisi, Ketty La Rocca, and Nicole Gravier subversively used lens-based media to disrupt patriarchal representations of womanhood within the feminist debate during the 1960s and 1970s.

Finally, Hammad Nasar, senior research fellow at the Paul Mellon Centre for Studies in British Art and co-curator at British Art Show 9, analyzes our recent film acquisition Don’t Look at the Finger (2017) by artist Hetain Patel. In “Transforming Worlds,” Nasar retraces the cultural tropes that have informed the artist’s visual language in proposing approaches to living with difference, from the figure of Spider-Man to the poetics of Bruce Nauman.

We would like to thank all the esteemed participants who contributed to this brand-new collection of readings by sharing their knowledge and concerns with a wider public. We hope this latest journey through moving images will provide you with new, wider perspectives.

The editorial team at STILL