This is a long essay on my practice written by Bill Horrigan* and appeared on DARE Magazine #4
The Rotterdam International Film Festival intermittently collaborates with the city’s other cultural institutions to develop and have on view simultaneously with the festival a variety of visual arts exhibitions illuminating in some fashion the preoccupations of the festival itself. That festival, such as it is, unspools officially within the confines of conventional cinema venues: commercial and non-commercial works seen via projection, before a paying, seated audience. Occasionally, there’ll be a spectacle-like twist; in 2009, for example, the festival included three short films projected at night on the facades of high-rises in the city center.
As I’ve written elsewhere (“Off Screen,” Artforum, April 2009, pp. 91-92), Rotterdam’s festival has a tradition of having cinema seen as a practice with ‘expanded’ aspirations, and for the most part those variations have been found within gallery exhibitions. In 2009, the single most resonant piece of cinema I saw at the festival was not technically “in” the festival at all, but was within one of those parallel exhibitions, a very short work by Carlo Zanni (b. 1975), on view in the TENT gallery space as part of a group show entitled Aspect Ratio, conceived by Belgian curator Edwin Carels.
Read more: http://blog.daremag.de/2011/07/cinema-zanni/
*Bill Horrigan is Curator at Large at Wexner Center for the Arts, and Founding Director of the Media Arts Program.
Good Thoughts, Good Things.