Aperture 200 - Fall 2010 by Mellisa Harris (editor) PDF

By Mellisa Harris (editor)

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Why not open the event to smaller, discrete curatorial projects that tap into artistic collaborations? Might not this make room for more visions and encourage a less top-down and institution-heavy approach? Concerns about sustainability persist as the festival has expanded and cannot be reduced solely to a matter of location-in one of Africa's poorest nations and in its fastest-growing city-or to the narrow remit of backers, or to the Paris-based remoteplanning apparatus. Video displays missing DVDs or not reset after routine power outages were commonplace-and have been lamented for years-raising questions about the transmission of information over time and among the various players.

Cash's show transcended the How buried in my memory, but how indelible that experience Two years ago I picked up a DVD of episodes of the old Johnny was on my life. When I had the inspiration for this project, the Cash Show. I hadn't thought about that series since it aired on seeds had been planted long ago by Johnny Cash, and nurtured television back in the late 1960s. Watching broadcasts from forty by his certainty and optimism that the arts are a necessary and years ago, now set against the backdrop of current events, The healing tool.

Tographic practice. t• HIS discovery in his work that allows him to convert small details into images of monumental stature. create an album of urban images to show his daughter When I met G6mez earlier this year in Mexico, he eventually. Sadly, his baby did not survive-"From seemed to me to have the uncertain exhilaration of a one day to the next, everything was over," he says. kid who hasjust discovered how to ride a bike: he knew But G6mez continued to shoot his urban album. he was onto something but didn't quite understand Here, a selection of those images is shown in a what it was.

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Aperture 200 - Fall 2010 by Mellisa Harris (editor)


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