Issue No.
105
Wangechi Mutu
Feb, 2008
Cover:
Wangechi Mutu, Perhaps the Moon Will Save Us, 2008, detail installation, "Collage: The Unmonumental Picture," New Museum, New York, mixed media, blankets, plastic pearls, aluminium foil, animal pelts, packing tape, ink and other materials. Courtesy of the Artist.Border Crossings has looked at the following in film, video and sound art:
Michael Awad, Eve Egoyan and David Rokeby, "Next Memory City", 21#3
Norma Bailey, 10#3, 4#3
Cordell Barker, 21#2
Cindy Bernard, 15#4
The Blood Records, 19#2
Stan Brakhage, 25#2
Janet Cardiff and George Bures Miller, 20#2
Donigan Cumming, 19#3, 10#1
Deco Dawson, 18#3
Daybi, 2633
Edith Dekyndt, 19#2
Shawna Dempsey and Lorri Millan, 17#2
Atom Egoyan, 21#4, 19#1
Olafur Eliasson, 24#3
Bret Easton Ellis, 19#2
Reiner Werner Fassbinder, 26#3
Omer Fast, 26#4
Coco Fusco, 26#4
Wyn Geleynse, 20#3, 16#1
Noam Gonick, Hey Happy!, 20#1, Noam Gonick and Luis Jacob, 26#4
Douglas Gordon, 21#3
Peter Greenaway, 9#4
Ken Gregory, 21#4
Mary Harron, 19#2
David Hoffos, 25#3, 23#3
Matt Holm, 19#3
Shereen Jerrett
Mary Kavanagh, 25#2
Mary Lucier, 18#1
Lux, A Decade of Artists’ Film and Video, 20#2
Bill Mason, 8#2
Guy Maddin, 24#4, 22#2, 20#4, 20#2, 19#3, 16#4, 14#2, 12#2; 9#3
Magnetic North: Canadian Experimental Video, 20#2
Christian Marclay, 20#2
Media City, 21#2
Aernout Mik, 21#1
Mario Mori, 26#1
Shirin Neshat, 21#1
John Paskievich, 21#1, 11#2
Jenny Perlin, 26#2
Benny Nemerofsky Ramsay, 23#4
David Rokeby, 21#1
Isabella Rossellini, 22#2
Carolee Schneemann, 25#2
Jeremy Shaw, 24#1
Floria Sigismondi, 20#3
Theo Sims, 26#4
Michael Snow, 26#2, 24#4
Still Waters: The Poetry of P.K. Page, 10#2
Lynn Stopkowich, 16#3
"The Video of Cruelty," 16#2
Winnipeg Film Group, 14#3
Peter Wintonick, 19#3
Sam Taylor-Wood, 24#2
Gabriel Yahyahkeekoot, 26#3
See also: Columns
19#3
"The Mad Fear Nothing: On the Set of Guy Maddin’s The Heart of the World"
Vol. 22#1
"Arkivist" by Robert Enright
"It is arguable that no filmmaker has set the aesthetic bar higher than has Alexander Sokurov in his 95-minute-long, epic inquiry into the cultural identity of his home country. Russian Ark was shot on a single day and in a single take, after eight years of preparation and a month of rehearsal." Robert Enright’s film column appears in every issue.
Vol. 9#4
"The Rational Extremist: An Interview with Peter Greenaway"