There are already many pieces written about the stunning opening title sequence from the first Millennium series film Girl with a Dragon Tattoo. Here are a few: www.wired.com/underwire/2012/01/dragon-tattoo-opening-titles www.ventilate.ca/2012/01/10/blur-studio-the-girl-with-the-dragon-tattoo-titles http://io9.com/5873372/ Blur Studio link http://vz3.blur.com/work/detail/girl-with-dragon-tattoo#movies/1 Interested in watching other memorable title sequences? Visit www.theartofthetitle.com

I am not really after a narrative. As much as I am concerned with movement, I prefer to be suggestive at most, implying only a mood or feeling. Any type of moralizing or story telling is intended to be frozen, inert, non-revealing to the viewer. I am generally after [...]]]> Text and interview: Margherita Dessanay Elephant Magazine

I am not really after a narrative. As much as I am concerned with movement, I prefer to be suggestive at most, implying only a mood or feeling. Any type of moralizing or story telling is intended to be frozen, inert, non-revealing to the viewer. I am generally after an expressive documentation of situations plausible enough, but aloof and distanced in which the viewer must not be distracted with narrative, so he may engage himself in the expression, material and execution of the work.

andydenzler.com
elephant magazine

I spotted the work of Massimo Carnevale on Flavorwire who spotted it on The Swedish Bed. His own site is here.

JAMES FRANCO THE DANGEROUS BOOK FOUR BOYS BERLIN MITTE

FEBRUARY 12 – APRIL 23, 2011 OPENING RECEPTION: SATURDAY, FEBRUARY 12TH, 2011, 7 PM – 10 PM TUESDAY – SATURDAY 11 AM – 6 PM AND BY APPOINTMENT

In two locations: Peres Projects MITTE Grosse Hamburger Strasse 17 10115 Berlin Peres Projects KREUZBERG Schlesische Strasse 26 10997 Berlin

February 12th – April 23rd, [...]]]> PERES PROJECTS – BERLIN

JAMES FRANCO
THE DANGEROUS BOOK FOUR BOYS
BERLIN MITTE

FEBRUARY 12 – APRIL 23, 2011
OPENING RECEPTION:
SATURDAY, FEBRUARY 12TH, 2011, 7 PM – 10 PM
TUESDAY – SATURDAY 11 AM – 6 PM AND BY APPOINTMENT

In two locations:
Peres Projects MITTE Grosse Hamburger Strasse 17 10115 Berlin
Peres Projects KREUZBERG Schlesische Strasse 26 10997 Berlin

February 12th – April 23rd, 2011
Opening February 12th, 7 – 10pm

Javier Peres is pleased to present The Dangerous Book Four Boys, the first European solo exhibition of James Franco.

Franco´s works explore a variety of issues stemming from adolescence while acknowledging the contributions of influential artists and filmmakers such as Paul McCarthy and Kenneth Anger. This exhibition brings together short films, drawings, photographs, ephemera, sculptures and installations made over the last 4 years where we see Franco draw upon childhood experiences including notions of identity, masculinity, sexuality and other essential life experiences and culminates in presenting a rejection of normative parenthood and suggesting alternative paradigms for parental relations.

This exhibition was previously presented at the Clocktower Gallery, NYC, and we are thankful to curator Alanna Heiss and to Kunst-Werke, Institute for Contemporary Art for their support.

The exhibition and opening is free and open to the public.
www.peresprojects.com
Opening hours are Tuesday through Saturday, 11am – 6pm and by appointment. For further information or reproductions please contact Margherita Belaief at +49 30 6162 6962, or Margherita@PeresProjects.com or Javier Peres at Javier@PeresProjects.com

Jeff Wall Pawnshop 2008

HOURS TUESDAY – SATURDAY, 11 AM – 7 PM

There are very, very few films that I can think of that have actually created true cinema. Last Year In Marienbad, perhaps, is about the closest I can feel. It approaches a notion of real, true cinematic intelligence. It is not a slave [...]]]> Artist and filmmaker Peter Greenaway said the following of ‘L’année dernière à Marienbad’

There are very, very few films that I can think of that have actually created true cinema. Last Year In Marienbad, perhaps, is about the closest I can feel. It approaches a notion of real, true cinematic intelligence. It is not a slave to text. It is not a slave to narrative. It deconstructs all these phenomena and creates a product which is truly and absolutely cinematic because it cannot exist in any other form. Whereas the majority of cinema can always be explained in other mediums, which is a true indication, I feel, that it hasn’t yet reached that essential autonomy. It points the way cinema might have gone – I think it’s too late now, the most interesting figures have all turned to other things, other routes

Indeed Greenaway has also turned to ‘other routes’ with his art project ‘Nine Classical Paintings Revisited’. Last summer he exposed the piece “The Wedding at Cana: A Vision by Peter Greenaway” at the Venice Biennale. The New York Times review can be found here:

The Wedding at Cana - A Vision by Peter Greenaway