{"id":2899,"date":"2022-01-23T10:51:42","date_gmt":"2022-01-23T09:51:42","guid":{"rendered":"https:\/\/still.inbetweenartfilm.com\/?page_id=2899"},"modified":"2022-03-04T09:54:27","modified_gmt":"2022-03-04T08:54:27","slug":"still-4-still-studies-on-moving-images","status":"publish","type":"page","link":"https:\/\/still.inbetweenartfilm.com\/en\/","title":{"rendered":"Still – Studies on Moving Images"},"content":{"rendered":"

[et_pb_section fb_built=”1″ admin_label=”section” _builder_version=”4.9.3″ background_color=”#000000″ custom_margin=”0px||0px||true|false” custom_padding=”0px||0px||true|false” locked=”off” global_colors_info=”{}”][et_pb_row use_custom_gutter=”on” gutter_width=”1″ disabled_on=”off|on|on” admin_label=”row” _builder_version=”4.14.8″ background_image=”https:\/\/still.inbetweenartfilm.com\/wp-content\/uploads\/2022\/03\/home-capitolo-4.jpeg” parallax=”on” parallax_method=”off” width=”100%” max_width=”100%” custom_margin=”-3px|auto|0px|auto||” custom_padding=”||444px|||” collapsed=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.2″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_hue_rotate__hover_enabled=”on|desktop” filter_opacity__hover_enabled=”on|hover” filter_opacity__hover=”80%”][et_pb_text _builder_version=”4.9.4″ _module_preset=”default” text_font=”ABC Web regular||||||||” text_text_color=”#FFFFFF” text_font_size=”26px” text_letter_spacing=”1px” text_line_height=”1em” header_font=”ABC Web Italic||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”70px” header_4_font=”ABC Web regular||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”26px” text_orientation=”center” background_layout=”dark” custom_padding=”112px|9.4%||9.4%|false|true” locked=”off” global_colors_info=”{}”]<\/p>\n

STILL<\/h1>\n

Studies on Moving Images<\/h4>\n

A research platform that features quarterly collections of commissioned texts investigating the field of artists\u2019 moving images.<\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row use_custom_gutter=”on” gutter_width=”1″ disabled_on=”off|on|on” admin_label=”Capitolo 4 MOBILE” _builder_version=”4.14.8″ background_image=”https:\/\/still.inbetweenartfilm.com\/wp-content\/uploads\/2022\/03\/copertina-colorata.jpeg” parallax=”on” parallax_method=”off” width=”100%” max_width=”100%” custom_margin=”-3px|auto||auto||” custom_padding=”||660px|||” locked=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.2″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_hue_rotate__hover_enabled=”on|desktop” filter_opacity__hover_enabled=”on|hover” filter_opacity__hover=”80%”][et_pb_divider show_divider=”off” module_id=”current” _builder_version=”4.11.4″ _module_preset=”default” min_height=”1px” height=”1px” max_height=”1px” custom_margin=”15px||||false|false” custom_padding=”||||false|false” locked=”off” global_colors_info=”{}”][\/et_pb_divider][et_pb_divider color=”RGBA(0,0,0,0)” module_id=”current” _builder_version=”4.11.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][et_pb_text _builder_version=”4.14.7″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”-16px||||false|false” custom_padding=”0px||||false|false” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjI5MTgifX0=@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

EDITORS\u2019 NOTE<\/h3>\n

STILL: Chapter 4<\/h1>\n

Editorial team<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.14.8″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”-16px||||false|false” custom_padding=”38px||||false|false” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjMxNjAifX0=@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” locked=”off” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop”]<\/p>\n

DOUBLE EXPOSURE<\/h3>\n

On Transformation, Transition, and Transcendence<\/h1>\n

Hiwa K in conversation with Bonaventure Soh Bejeng Ndikung<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.14.8″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”0px||||false|false” custom_padding=”20px||||false|false” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjI5NzQifX0=@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” locked=”off” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

CLOSE-UP<\/h3>\n

On Viriditas, maybe Veritas and Virtuality<\/h1>\n

Barbara Casavecchia on Power Plants (2019) by Hito Steyerl<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.14.7″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_padding=”23px|||||” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjI5ODMifX0=@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” locked=”off” global_colors_info=”{}”]<\/p>\n

CROSS-CUTTING<\/h3>\n

Between Art and Film<\/h1>\n

Erika Balsom revisits the exhibition Passages de l\u2019image<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.14.8″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_padding=”23px|||||” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjMwMTYifX0=@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” locked=”off” global_colors_info=”{}”]<\/p>\n

FIRST LOOK<\/h3>\n

The Earthbound
or \u201cThe Heart of a Tree\u201d<\/h1>\n

Teresa Castro on Clare Langan\u2019s film The Heart of a Tree (2020)<\/h4>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row use_custom_gutter=”on” gutter_width=”1″ disabled_on=”off|on|on” admin_label=”Capitolo 3 MOBILE” module_id=”current” _builder_version=”4.14.7″ background_image=”https:\/\/still.inbetweenartfilm.com\/wp-content\/uploads\/2021\/10\/STILL_CHAPTER-3_A_1920x1080.jpeg” parallax=”on” parallax_method=”off” width=”100%” max_width=”100%” custom_margin=”-3px|auto||auto||” custom_padding=”||660px|||” locked=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.2″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_hue_rotate__hover_enabled=”on|desktop” filter_opacity__hover_enabled=”on|hover” filter_opacity__hover=”80%”][et_pb_divider show_divider=”off” module_id=”1″ _builder_version=”4.9.4″ _module_preset=”default” min_height=”1px” height=”1px” max_height=”1px” custom_margin=”15px||||false|false” custom_padding=”||||false|false” locked=”off” global_colors_info=”{}”][\/et_pb_divider][et_pb_text _builder_version=”4.14.7″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”-16px||||false|false” custom_padding=”0px||||false|false” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/still-chapter-3\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

EDITORS\u2019 NOTE<\/h3>\n

STILL: Chapter 3<\/h1>\n

Editorial team<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.11.4″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_align=”center” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”35px||||false|false” custom_padding=”0px||||false|false” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/sculpting-through-film\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” border_color_bottom=”#FFFFFF” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

DOUBLE EXPOSURE<\/h3>\n

Sculpting through Film<\/h1>\n

Yuri Ancarani in conversation with Lucia Aspesi<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.11.4″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_align=”center” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”35px||||false|false” custom_padding=”0px||||false|false” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/afterimages-of-progress\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” border_color_bottom=”#FFFFFF” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

CLOSE-UP<\/h3>\n

Afterimages of Progress<\/h1>\n

Nora N. Khan on Monelle (2017) by Diego Marcon<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.11.4″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_align=”center” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”35px||||false|false” custom_padding=”0px||||false|false” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/distributing-dependency\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” border_color_bottom=”#FFFFFF” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

CROSS-CUTTING<\/h3>\n

Distributing Dependency<\/h1>\n

Mason Leaver-Yap on reconditioning institutional production for artists<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.11.4″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_align=”center” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”35px||||false|false” custom_padding=”0px||||false|false” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/surveying-grandeur\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” border_color_bottom=”#FFFFFF” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

FIRST LOOK<\/h3>\n

Surveying Grandeur<\/h1>\n

Karen Irvine on Cyrill Lachauer\u2019s Moon and Half Dome (Greetings to Muir and Adams) (2020)<\/h4>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row use_custom_gutter=”on” gutter_width=”1″ disabled_on=”off|on|on” admin_label=”row” _builder_version=”4.9.7″ background_image=”https:\/\/still.inbetweenartfilm.com\/wp-content\/uploads\/2021\/06\/capitolo-1-sezione-home.jpeg” width=”100%” max_width=”100%” custom_margin=”-3px|auto||auto||” custom_padding=”||660px|||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.2″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_hue_rotate__hover_enabled=”on|desktop” filter_opacity__hover_enabled=”on|hover” filter_opacity__hover=”80%”][et_pb_divider show_divider=”off” _builder_version=”4.9.4″ _module_preset=”default” min_height=”1px” height=”1px” max_height=”1px” custom_margin=”15px||||false|false” custom_padding=”||||false|false” locked=”off” global_colors_info=”{}”][\/et_pb_divider][et_pb_text module_id=”2″ _builder_version=”4.9.7″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_align=”center” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”-16px||||false|false” custom_padding=”0px||||false|false” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjE5ODgifX0=@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” border_color_bottom=”#FFFFFF” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

EDITORS\u2019 NOTE<\/h3>\n

STILL: Chapter 2<\/h1>\n

Editorial team<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.9.7″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_align=”center” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”35px||||false|false” custom_padding=”0px||||false|false” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/imprinting-parallel-histories\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” border_color_bottom=”#FFFFFF” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop”]<\/p>\n

DOUBLE EXPOSURE<\/h3>\n

Imprinting Parallel Histories<\/h1>\n

Thao Nguyen Phan in conversation with Zoe Butt<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.9.7″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_align=”center” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”35px||||false|false” custom_padding=”0px||||false|false” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/a-politics-of-memory\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” border_color_bottom=”#FFFFFF” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop”]<\/p>\n

CLOSE-UP<\/h3>\n

A Politics of Memory<\/h1>\n

Richard Birkett on Adrian Paci\u2019s Interregnum (2017)<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.9.7″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_align=”center” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”35px||||false|false” custom_padding=”0px||||false|false” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/being-women-seeing-feminism\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” border_color_bottom=”#FFFFFF” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop”]<\/p>\n

CROSS-CUTTING<\/h3>\n

Being Women: Seeing Feminism<\/h1>\n

Flavia Frigeri on the practices of Cecilia Mangini, Giosetta Fioroni, Marinella Pirelli, Laura Grisi, Ketty La Rocca, and Nicole Gravier<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.9.7″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_align=”center” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”35px||||false|false” custom_padding=”0px||||false|false” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/transforming-worlds\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” border_color_bottom=”#FFFFFF” locked=”off” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

FIRST LOOK<\/h3>\n

Transforming Worlds<\/h1>\n

Hammad Nasar on Hetain Patel\u2019s Don\u2019t Look at the Finger (2017)<\/h4>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row use_custom_gutter=”on” gutter_width=”1″ disabled_on=”off|on|on” admin_label=”row” _builder_version=”4.9.4″ background_image=”https:\/\/still.inbetweenartfilm.com\/wp-content\/uploads\/2021\/03\/home-red-01.jpg” parallax=”on” parallax_method=”off” width=”100%” max_width=”100%” custom_margin=”||||false|false” custom_padding=”||300px||false|false” locked=”off” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.2″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_hue_rotate__hover_enabled=”on|desktop” filter_opacity__hover_enabled=”on|hover” filter_opacity__hover=”80%”][et_pb_text module_id=”2″ _builder_version=”4.9.4″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_align=”center” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”35px||||false|false” custom_padding=”0px||||false|false” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjQxIn19@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” border_color_bottom=”#FFFFFF” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop”]<\/p>\n

EDITORS\u2019 NOTE<\/h3>\n

STILL: Chapter 1<\/h1>\n

Editorial team<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.9.4″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_align=”center” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”35px||||false|false” custom_padding=”0px||||false|false” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjY1OSJ9fQ==@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” border_color_bottom=”#FFFFFF” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

DOUBLE EXPOSURE<\/h3>\n

I Will Greet the Sun Again<\/h1>\n

Shirin Neshat in conversation with Valentine Umansky<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.9.4″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_align=”center” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”35px||||false|false” custom_padding=”0px||||false|false” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/while-bombs-are-dropping\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” border_color_bottom=”#FFFFFF” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop”]<\/p>\n

CLOSE-UP<\/h3>\n

While Bombs are Dropping<\/h1>\n

Ferran Barenblit on Cristina Lucas\u2019s Unending Lightning (2015-ongoing)<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.9.4″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_align=”center” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”35px||||false|false” custom_padding=”0px||||false|false” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6Ijc5NCJ9fQ==@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” border_color_bottom=”#FFFFFF” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

CROSS-CUTTING<\/h3>\n

The Self Onscreen<\/h1>\n

Pavel Py\u015b reflects on \u201cThe Body Electric\u201d<\/h4>\n

[\/et_pb_text][et_pb_text _builder_version=”4.9.4″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_align=”center” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”35px||||false|false” custom_padding=”0px||||false|false” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjgzMyJ9fQ==@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” border_color_bottom=”#FFFFFF” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

FIRST LOOK<\/h3>\n

Stratigraphical Images<\/h1>\n

Yang Beichen on Wang Tuo\u2019s The Interrogation (2017)<\/h4>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row use_custom_gutter=”on” gutter_width=”1″ disabled_on=”on|off|off” admin_label=”row” _builder_version=”4.14.8″ background_image=”https:\/\/still.inbetweenartfilm.com\/wp-content\/uploads\/2022\/03\/home-capitolo-4.jpeg” parallax=”on” parallax_method=”off” width=”100%” max_width=”100%” custom_margin=”-10px||0px||false|false” custom_padding=”||444px|||” global_colors_info=”{}”][et_pb_column type=”4_4″ _builder_version=”4.9.2″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_hue_rotate__hover_enabled=”on|desktop” filter_opacity__hover_enabled=”on|hover” filter_opacity__hover=”80%”][et_pb_text _builder_version=”4.9.4″ _module_preset=”default” text_font=”ABC Web regular||||||||” text_text_color=”#FFFFFF” text_font_size=”40px” text_letter_spacing=”1px” text_line_height=”1em” header_font=”ABC Web Italic||||||||” header_text_align=”center” header_text_color=”#FFFFFF” header_font_size=”120px” header_4_font=”ABC Web regular||||||||” header_4_text_align=”center” header_4_text_color=”#FFFFFF” header_4_font_size=”40px” text_orientation=”center” custom_padding=”138px|50px||50px|false|true” locked=”off” global_colors_info=”{}”]<\/p>\n

STILL<\/h1>\n

Studies on Moving Images<\/h4>\n

A research platform that features quarterly collections of commissioned texts investigating the field of artists\u2019 moving images.<\/p>\n

 <\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_5,1_5,1_5,1_5,1_5″ use_custom_gutter=”on” gutter_width=”1″ disabled_on=”on|off|off” admin_label=”Capitolo 4 desktop” _builder_version=”4.14.8″ background_image=”https:\/\/still.inbetweenartfilm.com\/wp-content\/uploads\/2022\/03\/copertina-colorata.jpeg” parallax=”on” parallax_method=”off” width=”100%” max_width=”100%” custom_margin=”-3px|auto||auto||” custom_padding=”27px||660px|||” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_5″ _builder_version=”4.9.2″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_hue_rotate__hover_enabled=”on|desktop” filter_opacity__hover_enabled=”on|hover” filter_opacity__hover=”80%”][et_pb_divider color=”RGBA(0,0,0,0)” module_id=”currentissue” _builder_version=”4.11.4″ _module_preset=”default” global_colors_info=”{}”][\/et_pb_divider][et_pb_text _builder_version=”4.14.7″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”-16px||||false|false” custom_padding=”20px||||false|false” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjI5MTgifX0=@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

EDITORS\u2019 NOTE<\/h3>\n

STILL: Chapter 4<\/h1>\n

Editorial team<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”4.9.2″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.14.8″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”-16px|26px|||false|false” custom_padding=”41px||||false|false” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjMxNjAifX0=@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

DOUBLE EXPOSURE<\/h3>\n

On Transformation, Transition, and Transcendence<\/h1>\n

Hiwa K in conversation with Bonaventure Soh Bejeng Ndikung<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.14.7″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”-16px||||false|false” custom_padding=”41px||||false|false” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjI5NzQifX0=@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

CLOSE-UP<\/h3>\n

On Viriditas, maybe Veritas and Virtuality<\/h1>\n

Barbara Casavecchia on Power Plants (2019) by Hito Steyerl<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.14.7″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_padding=”25px|||||” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjI5ODMifX0=@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

CROSS-CUTTING<\/h3>\n

Between Art and Film<\/h1>\n

Erika Balsom revisits the exhibition Passages de l\u2019image<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.14.8″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_padding=”27px|||||” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjMwMTYifX0=@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

FIRST LOOK<\/h3>\n

The Earthbound
or \u201cThe Hearth of a Tree\u201d<\/h1>\n

Teresa Castro on Clare Langan\u2019s film The Heart of a Tree (2020)<\/h4>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_5,1_5,1_5,1_5,1_5″ use_custom_gutter=”on” gutter_width=”1″ disabled_on=”on|off|off” admin_label=”row” module_id=”currentissue” _builder_version=”4.11.4″ background_image=”https:\/\/still.inbetweenartfilm.com\/wp-content\/uploads\/2021\/10\/STILL_CHAPTER-3_A_1920x1080.jpeg” parallax=”on” parallax_method=”off” width=”100%” max_width=”100%” custom_margin=”-24px|auto||auto||” custom_padding=”||660px|||” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_5″ _builder_version=”4.9.2″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_hue_rotate__hover_enabled=”on|desktop” filter_opacity__hover_enabled=”on|hover” filter_opacity__hover=”80%”][et_pb_divider show_divider=”off” module_id=”1″ _builder_version=”4.9.4″ _module_preset=”default” min_height=”1px” height=”1px” max_height=”1px” custom_margin=”15px||||false|false” custom_padding=”||||false|false” locked=”off” global_colors_info=”{}”][\/et_pb_divider][et_pb_text _builder_version=”4.14.7″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”-16px||||false|false” custom_padding=”0px||||false|false” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/still-chapter-3\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

EDITORS\u2019 NOTE<\/h3>\n

STILL: Chapter 3<\/h1>\n

Editorial team<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”4.9.2″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.11.4″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/sculpting-through-film\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

DOUBLE EXPOSURE<\/h3>\n

Sculpting through Film<\/h1>\n

Yuri Ancarani in conversation with Lucia Aspesi<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.11.4″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/afterimages-of-progress\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

CLOSE-UP<\/h3>\n

Afterimages of Progress<\/h1>\n

Nora N. Khan on Monelle (2017) by Diego Marcon<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.11.4″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/distributing-dependency\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

CROSS-CUTTING<\/h3>\n

Distributing Dependency<\/h1>\n

Mason Leaver-Yap on reconditioning institutional production for artists<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.11.4″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_padding=”|50px|||false|false” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/surveying-grandeur\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

FIRST LOOK<\/h3>\n

Surveying Grandeur<\/h1>\n

Karen Irvine on Cyrill Lachauer\u2019s Moon and Half Dome (Greetings to Muir and Adams) (2020)<\/h4>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_5,1_5,1_5,1_5,1_5″ use_custom_gutter=”on” gutter_width=”1″ disabled_on=”on|off|off” admin_label=”row” _builder_version=”4.9.7″ background_image=”https:\/\/still.inbetweenartfilm.com\/wp-content\/uploads\/2021\/06\/capitolo-1-sezione-home.jpeg” parallax=”on” parallax_method=”off” width=”100%” max_width=”100%” custom_margin=”-3px|auto||auto||” custom_padding=”||660px|||” global_colors_info=”{}”][et_pb_column type=”1_5″ _builder_version=”4.9.2″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_hue_rotate__hover_enabled=”on|desktop” filter_opacity__hover_enabled=”on|hover” filter_opacity__hover=”80%”][et_pb_divider show_divider=”off” module_id=”1″ _builder_version=”4.9.4″ _module_preset=”default” min_height=”1px” height=”1px” max_height=”1px” custom_margin=”15px||||false|false” custom_padding=”||||false|false” locked=”off” global_colors_info=”{}”][\/et_pb_divider][et_pb_text _builder_version=”4.9.7″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_margin=”-16px||||false|false” custom_padding=”0px||||false|false” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjE5ODgifX0=@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

EDITORS\u2019 NOTE<\/h3>\n

STILL: Chapter 2<\/h1>\n

Editorial team<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”4.9.7″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.9.7″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/imprinting-parallel-histories\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

DOUBLE EXPOSURE<\/h3>\n

Imprinting Parallel Histories<\/h1>\n

Thao Nguyen Phan in conversation with Zoe Butt<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.9.7″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/a-politics-of-memory\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

CLOSE-UP<\/h3>\n

A Politics of Memory<\/h1>\n

Richard Birkett on Adrian Paci\u2019s Interregnum (2017)<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.9.7″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/being-women-seeing-feminism\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

CROSS-CUTTING<\/h3>\n

Being Women: Seeing Feminism<\/h1>\n

Flavia Frigeri on the practices of Cecilia Mangini, Giosetta Fioroni, Marinella Pirelli, Laura Grisi, Ketty La Rocca, and Nicole Gravier<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.9.7″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” background_layout=”dark” custom_padding=”|50px|||false|false” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/transforming-worlds\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

FIRST LOOK<\/h3>\n

Transforming Worlds<\/h1>\n

Hammad Nasar on Hetain Patel\u2019s <\/i>Don\u2019t Look at the Finger (2017)<\/h4>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row column_structure=”1_5,1_5,1_5,1_5,1_5″ use_custom_gutter=”on” gutter_width=”1″ disabled_on=”on|off|off” admin_label=”row” _builder_version=”4.9.4″ background_image=”https:\/\/still.inbetweenartfilm.com\/wp-content\/uploads\/2021\/03\/home-red-01.jpg” parallax=”on” parallax_method=”off” width=”100%” max_width=”100%” custom_margin=”||||false|false” custom_padding=”||||false|false” locked=”off” global_colors_info=”{}”][et_pb_column type=”1_5″ _builder_version=”4.9.2″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_hue_rotate__hover_enabled=”on|desktop” filter_opacity__hover_enabled=”on|hover” filter_opacity__hover=”80%”][et_pb_divider show_divider=”off” module_id=”1″ _builder_version=”4.9.4″ _module_preset=”default” min_height=”1px” height=”1px” max_height=”1px” custom_margin=”15px||||false|false” custom_padding=”||||false|false” global_colors_info=”{}”][\/et_pb_divider][et_pb_text _builder_version=”4.9.4″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” custom_margin=”-16px||||false|false” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjQxIn19@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}” transform_styles__hover_enabled=”on|hover” transform_scale__hover_enabled=”on|hover” transform_translate__hover_enabled=”on|desktop” transform_rotate__hover_enabled=”on|desktop” transform_skew__hover_enabled=”on|desktop” transform_origin__hover_enabled=”on|desktop” filter_hue_rotate__hover_enabled=”on|desktop”]<\/p>\n

EDITORS\u2019 NOTE<\/h3>\n

STILL: Chapter 1<\/h1>\n

Editorial team<\/h4>\n

[\/et_pb_text][et_pb_divider show_divider=”off” _builder_version=”4.9.4″ _module_preset=”default” min_height=”600px” height=”600px” max_height=”600px” global_colors_info=”{}”][\/et_pb_divider][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”4.9.2″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.9.7″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjY1OSJ9fQ==@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

DOUBLE EXPOSURE<\/h3>\n

I Will Greet the Sun Again<\/h1>\n

Shirin Neshat in conversation with Valentine Umansky<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.9.4″ _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” link_option_url=”https:\/\/still.inbetweenartfilm.com\/en\/while-bombs-are-dropping\/” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

CLOSE-UP<\/h3>\n

While Bombs are Dropping<\/h1>\n

Ferran Barenblit on Cristina Lucas\u2019s Unending Lightning (2015-ongoing)<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.9.4″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6Ijc5NCJ9fQ==@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

CROSS-CUTTING<\/h3>\n

The Self Onscreen<\/h1>\n

Pavel Py\u015b reflects on \u201cThe Body Electric\u201d<\/h4>\n

[\/et_pb_text][\/et_pb_column][et_pb_column type=”1_5″ _builder_version=”3.25″ custom_padding=”|10px||10px|false|true” global_colors_info=”{}” custom_padding__hover=”|||” filter_opacity__hover=”80%” filter_opacity__hover_enabled=”on|hover” filter_hue_rotate__hover_enabled=”on|desktop”][et_pb_text _builder_version=”4.9.4″ _dynamic_attributes=”link_option_url” _module_preset=”default” text_text_color=”#FFFFFF” text_line_height=”1em” header_font=”ABC Web regular||||||||” header_text_color=”#FFFFFF” header_font_size=”20px” header_3_font=”ABC Web regular|||on|||||” header_3_text_color=”#FFFFFF” header_3_font_size=”14px” header_4_font=”ABC Web Italic||||||||” header_4_text_color=”#FFFFFF” header_4_font_size=”14px” text_orientation=”center” custom_margin=”|0px|||false|false” custom_padding=”|30px|||false|false” link_option_url=”@ET-DC@eyJkeW5hbWljIjp0cnVlLCJjb250ZW50IjoicG9zdF9saW5rX3VybF9wYWdlIiwic2V0dGluZ3MiOnsicG9zdF9pZCI6IjgzMyJ9fQ==@” background_layout_tablet=”” background_layout_phone=”” background_layout_last_edited=”on|desktop” global_colors_info=”{}”]<\/p>\n

FIRST LOOK<\/h3>\n

Stratigraphical Images<\/h1>\n

Yang Beichen on Wang Tuo\u2019s The Interrogation (2017)<\/h4>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

STILL Studies on Moving Images A research platform that features quarterly collections of commissioned texts investigating the field of artists\u2019 moving images.EDITORS\u2019 NOTE STILL: Chapter 4 Editorial teamDOUBLE EXPOSURE On Transformation, Transition, and Transcendence Hiwa K in conversation with Bonaventure Soh Bejeng NdikungCLOSE-UP On Viriditas, maybe Veritas and Virtuality Barbara Casavecchia on Power Plants (2019) […]<\/p>\n","protected":false},"author":1,"featured_media":1969,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"\r\n

Questa \u00e8 una pagina di esempio. Differisce da un articolo di un blog perch\u00e9 rimane sempre allo stesso posto e (in molti temi) appare nel menu di navigazione. Molte persone iniziano con una pagina di Informazioni che li presentano ai visitatori del sito. Potrebbe apparire una presentazione del tipo:<\/p>\r\n\r\n\r\n\r\n

Ciao! Sono un fattorino ciclista di giorno, aspirante attore di notte e questo \u00e8 il mio sito web. Vivo a Los Angeles, ho un grande cane di nome Jack e mi piace la pi\u00f1a colada. (E prendere la pioggia)<\/p><\/blockquote>\r\n\r\n\r\n\r\n

...o qualcosa di simile:<\/p>\r\n\r\n\r\n\r\n

La Societ\u00e0 XYZ Aggeggi \u00e8 stata fondata nel 1971 e da allora fornisce al pubblico aggeggi di ottima qualit\u00e0. Situata a Fantasilandia, XYZ impiega oltre 2.000 persone e realizza ogni sorta di aggeggio fantastico per la comunit\u00e0 di Fantasilandia.<\/p><\/blockquote>\r\n\r\n\r\n\r\n

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