Other “Zones”

By Exhibitions

March 31 – May 1, 2007
Opening Reception: Saturday, March 31, 7pm

Gregg Fleishman Studio with Nana Tchitchoua

3850 Main Street Culver City CA 90232

Gregg Fleishman Studio is pleased to present Other “Zones”, an exhibition considering the intersection of architecture, art and education. Featuring a collaboration with Nana Tchitchoua and a sampling of children’s art, the exhibition is both a social/architectural experiment and an analogy with games advocating new modes of survival, living experimentally to transform social relations by manipulating space and time. Other “Zones” is centered around interactive architecture and puzzle-paintings which invite public participation and reflection on the problems of time, distance, history, and the future in a call for radical reconstruction.

TOMORROWLAND: CalArts in Moving Pictures

By Exhibitions

Impressions from Rustaveli:
An interpretation of a romantic poem by an eleventh-century Georgian monk. SCREENING AT THE NYC MoMA

The Museum of Modern Art, NYC
May 25 – August 13 2006
39 Provocative Programs, Over 200 Filmmakers

This exhibition celebrates more than three decades of intimate, inventive, and technically sophisticated student filmmaking and videomaking, and features a breathtaking range of nonfiction, narrative, animation, and experimental styles and genres. Particular focus is given to the famed animation program, where students have used everything from cutting-edge computer and optical printing technologies–many of which they developed themselves–to homespun materials like chewing-gum wrappers, nail polish remover, and lint. TOMORROWLAND is the most comprehensive exhibition that MoMA has devoted to an American Film School.

Organized by Joshua Siegel, Assistant Curator, Department of Film and Media, The Museum of Modern Art.

SAMOVAR Film Review

By Reviews

IN SERIES: THE DISPLACED PEOPLE SPEAK
About THE TEA DOLL DREAMS

Which film is more important, a formula movie that doubles and triples its multimillion investment into more millions of dollars, or a low-budget indie which generate profit as frequently as Las Vegas gaming machines release fortunes out of their greedy mouths, or zero-budget “sub indies,” mostly seen by friends and business associates? If the answer seems obvious, then think again. Box office numbers are not the only success meters. For instance, aesthetics ignores these numbers altogether. Instead, it looks for the miraculous presence of something indefinable that touches human hearts. From this point of view, the success of an artistic creation is measured by it’s ability to lift a soul above its daily concerns into a higher realm of finer energies — closer to God and His angels. This phenomenon has a name – catharsis, in Greek – katharsis. According to Oxford dictionary, it means “purification of the emotions by vicarious experience,” in other words, cleansing by co-experiencing hero’s challenges, pain and suffering. The tricky part is that there are no success recipes, creators really cannot tell how they caught viewers’ attention, and it really doesn’t matter who the heroes are – masters or slaves, saints or sinners, or a bunch a murderers as in Hamlet, or if heroine is a prostitute as in La Dame Aux Camelias.

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