Slow Art Cinema

October 5th, 2014

For years now we have been engaging in the art of slow looking. Slow Art Day is, in some ways, part of the Slow Movement, which seeks to reintroduce aspects of slowness. In many cases the “slow” values are ones that we have long lost, dating back to the introduction of mechanical time-keeping, which put time and its importance at the centre of our lives. Slow Art is but one of many other ‘slow’ activities; for example, the Slow Food movement thrives in many parts of the world. What I personally find intriguing, though, is the link between Slow Art and Slow Cinema, the subject of my on-going research. We published a brief blog entry about Slow Cinema before, which I want to expand on here.

The term ‘Slow Cinema’ was coined in 2004 by film critic Jonathan Romney. Since then it has been widely in use, although the term is somewhat limiting and derogative as ‘slow’ implies boredom for many people. The truth is that the aesthetics of Slow Cinema can be found as far back as the very beginning of cinema history, for example in long takes, which are (often mundane) events filmed in their entirety without a cut. Hungarian director Béla Tarr only cut when the reel came to an end, after about ten minutes. Lav Diaz from the Philippines, who used to be a painter but has now shifted to filmmaking, often goes as far as recording events without a single cut for as long as twenty minutes.

This, the use of an often static camera with little movement in the film frames, might remind one of paintings – only here these paintings are not hanging on a  wall, but instead are projected onto a screen. The result, however, is the same. The viewer sits in front of the visual image, studying every detail of the frame, and may find him- or herself marveling at the beautiful rural landscapes that are often found in slow films. Take Michela Occhipinti’s Letters from the Desert (2012), set in rural India. The protagonists appear as mere dots in the landscape.

Still from Michela Occhipinti's "Letters from the Desert"

Still from Michela Occhipinti’s “Letters from the Desert”

Or take Catalan filmmaker Albert Serra’s Birdsong (2008), which is not only a comedic study of the Three Kings on their way to Bethlehem but also a stunning portrayal of empty landscapes.

Still from Albert Serra's Birdsong

Still from Albert Serra’s Birdsong

Then there is also Panahbarkhoda Rezaee from Iran, whose superb Daughter…Father…Daughter (2011) shows the audience a stunning Iranian landscape we perhaps never thought existed.

Still from Panahbarkhoda Rezaee's "Daughter...Father...Daughter"

Still from Panahbarkhoda Rezaee’s “Daughter…Father…Daughter”

And there is Caspar David Friedrich’s famous Rückenfigur that appeared in Lav Diaz’s Death in the Land of Encantos (2007), an overwhelming nine-hour film set in the aftermath of a natural catastrophe that finds little likeness in the Philippines.

Caspar David Friedrich, and Lav Diaz's "Death in the Land of Encantos"

Caspar David Friedrich, and Lav Diaz’s “Death in the Land of Encantos”

There is more to the link between Slow Art and Slow Cinema than the apparent focus of traditions of landscape painting in the latter, however. For a long time I have thought and argued that slow films should be screened in galleries and museums. Locations govern our experiences; hence people tend to go to the movies to escape from reality, to see some action-laden blockbuster that puts them on a roller-coaster ride through the full spectrum of human emotions. A gallery audience has different expectations, ‘slower’ expectations, in fact, so that a projection of the fourteen-hour long Crude Oil (2008) by Wang Bing might sit much more at ease in this surrounding than it would in a cinema. And indeed, slow-film directors are more and more moving into gallery spaces, merging their work with other forms of art. Taiwan-based Tsai Ming-liang, whose superb short film Walker is available and free to see for everyone, even shot Visage (2009) in the Louvre after the museum commissioned him to do so. Thai filmmaker Apichatpong Weerasethakul, whose Uncle Boonmee Who Can Recall His Past Lives (2011) won the Golden Palm at Cannes in 2011, is also widely known for his gallery works, such as Photophobia. His short film Dilbar is also available for you to watch online.

It is in this light, then, that I don’t see Slow Art and Slow Cinema as being separate from one other. As mentioned before, there are several slow activities thriving around the world. We have seen everything from Slow Education to Slow Finance to Slow Parenting. But none of these are so intricately intertwined as are Slow Art and Slow Cinema.

You can find more information, thoughts, film reviews, and interviews with directors on my website, The Art(s) of Slow Cinema. Or you can get in touch via theartsofslowcinema@gmail.com. I’m always happy to have slow discussions with people!

- Nadin

Reflections from Hosts: Catherine & Jilda

June 26th, 2014

How successful can Slow Art Day be? Two of our 2014 hosts, Catherine and Jilda, reflect on their experimental event in immersive engagement – digitally and by non-traditional museum audiences.

slilde-1

Catherine and Jilda document key moments and behind the scenes insight for their National Museum of Australia event.

In the discussion portion, the group marveled at the connections they found between the works.

In the discussion portion, the group marveled at the connections they found between the works.

To read more about their event, click here.

- Karen

 

 

Reflections from Hosts: The Georgia Museum of Art

June 16th, 2014

In need of some great DIY activities for the kids this summer?

Take inspiration from our 2014 host The Georgia Museum of Art’s Slow Art Family Day!

1507485_10152333125111950_5468934512017582576_o 1780956_10152333124546950_6964916866782616161_o 1795321_10152333124396950_2727758459616803238_o 1911257_10152333124561950_1687477713151283026_o 10256696_10152333124866950_379223022133706931_o 10257239_10152333125136950_5487442883861293748_o 10258562_10152333124831950_6130999788797707269_o 10258944_10152333124836950_2150648231485982522_o 10269156_10152333124571950_3415581106889251856_o

- Rachel & Karen

Reflections from Hosts: The Courtauld Gallery

June 4th, 2014

Looking at Claude Monet’s ‘Antibes’ during Slow Art Day (via The Courtauld Gallery blog)

Our 2014 host, Kirti Upadhaya, at The Courtauld Gallery in London, shares her reflections from the April 12th event:

The experience of both participating and hosting the Slow Art Day was very rewarding as it allowed me to spend time engaging with five beautiful paintings while also allowing me to consider the nature of this engagement.

Slow Art Day reinforces the importance of direct engagement with a work of art. Living in a world where information is readily available at the press of a button, I often forget that sometimes, the simplest way to access art is to build a relationship with it, to just look at it for a little longer.

Read more about Upadhaya’s and others’ experiences at Slow Art Day on the Courtauld Gallery’s blog here.

- Karen