Eric Goh discusses how the pandemic motivated him to take a year off from his studies and start Mutual Aid Projects, a curator-run project space in Kuala Lampur. Continue Reading Eric Goh on Mutual Aid and Friendship as a Pathway Out of Disaster
Posts published in “Video Art”
Factories always fascinate me, as I often wonder how the things I eat, use, or consume are manufactured by workers or machines: transforming raw materials… Continue Reading “Whose Utopia” – Cao Fei at the Museum of Modern Art
Drawing heavily from the Whitney Museum of American Art’s permanent collection, Programmed: Rules, Codes, and Choreographies in Art, 1965–2018 includes a broad range of works… Continue Reading A Daring Balancing Act: “Programmed” at the Whitney
Bruce Nauman: Disappearing Acts opened in March at the Schaulager Museum in Basel, Switzerland, to rave critical reviews and social media buzz. Here in New… Continue Reading Master Manipulator: Bruce Nauman at MoMA
Never shy about her political stance, Beyonce openly endorsed candidate Hillary Clinton in the 2016 presidential election, making clear her belief that the future is female. Her album Lemonade, which Beyoncé produced the same year and complemented with powerful video content, illustrates her feminist stance through explicitly political, but also personal references.
One of the most memorable scenes from Lemonade is the second song Hold Up. Here, Beyoncé elegantly steps out of a neoclassical building followed by an overflowing mass of water. Then, she jubilantly leaps onto a street, where she takes a baseball bat away from a child and begins to smash the windows of the cars parked on the side of the street. This unexpected twist of tone departs from the innocent ecstasy evoked in the first scene reminds me of Pipilotti Rist’s 1997 video work Ever is Over All. Here, a woman in a blue dress gleefully walks down a street before, all of a sudden, starting to smash cars’ windows with a long flower stem.