Ivan Argote’s "Reddish Blue"
              Adam Kleinman
              The archive is dated; we now live in the age of footnoted fictions, as artists, writers, politicians, and technocrats each try to shape political reality through semi-plausible myths… each “based on a true story.” As such, it might be time to start weighing the techniques of Hito Steyerl, or Ben Lerner’s speculative political fictions that change the world “depending on its arrangement into one narrative or another” against the not dissimilar disinformation tactics of political theater found in say, Putin’s éminence grise, Vladislav Surkov, and his use of multiple false flag operators to confuse any cogent narrative of so-called “reality.” For this review, let’s take Ivan Argote’s “Reddish Blue” as the opening salvo for this discussion. As the title suggests, the exhibition is based on the color purple, and several of the gallery walls are painted appropriately. To learn why, visitors are presented with a slideshow that apes PowerPoint and silent movies by projecting 80 expository intertitles. It begins, “I think it’s true…” and from there, a series of narratives that may or may not be true follow. These accounts more or less intertwine as the artist uses anecdotes to tell personal and familial histories, but the crux of it all …
              Mona Vătămanu & Florin Tudor’s “Geometric Analogies”
              Natasha Ginwala
              An anti-censorship quote from the first century claims that when paper burns the words fly away. But what happens when the paper itself is granted flight? In the film Manifestul (Manifesto, 2005) a hand appears from the edge of a balcony and releases a cluster of pages. They swirl about, filling the frame as a breeze forms an accidental background score. Several of Mona Vătămanu and Florin Tudor’s films, including this one, are made at an in-between time—neither day nor night—but a gray hour that holds the cinematic image in a state of aporia. It is in this suspended space that temporal gestures find grounding and a certain materiality—be it in the carrying of dust (Praful / The Dust, 2006), covering the floor of an exhibition space with rust (The Path / Rust Ingots, 2009), or the painting of revolutionary scenes as acts of remembrance (the series “Appointment with History”). Vătămanu and Tudor invent vulnerable architectures that draw upon the violently fragmented modernism of post-socialist Romania. Their articulations of loss within Ceaușescu’s dictatorship are conceived in conversation with places and things as “survivors” of history. However, rather than inhabiting chronological pathways, the artists’ works serve as a rehearsal ad infinitum. Manifestul

              e-flux announcements are emailed press releases for art exhibitions from all over the world.

              Agenda delivers news from galleries, art spaces, and publications, while Criticism publishes reviews of exhibitions and books.

              Architecture announcements cover current architecture and design projects, symposia, exhibitions, and publications from all over the world.

              Film announcements are newsletters about screenings, film festivals, and exhibitions of moving image.

              Education announces academic employment opportunities, calls for applications, symposia, publications, exhibitions, and educational programs.

              Sign up to receive information about events organized by e-flux at e-flux Screening Room, Bar Laika, or elsewhere.

              I have read e-flux’s privacy policy and agree that e-flux may send me announcements to the email address entered above and that my data will be processed for this purpose in accordance with e-flux’s privacy policy*

              Thank you for your interest in e-flux. Check your inbox to confirm your subscription.