2/27/2023 0 Comments Movingimages![]() ![]() Many societies offer single sign-on between the society website and Oxford Academic. Society member access to a journal is achieved in one of the following ways: If you cannot sign in, please contact your librarian. If your institution is not listed or you cannot sign in to your institution’s website, please contact your librarian or administrator.Įnter your library card number to sign in. Following successful sign in, you will be returned to Oxford Academic.Do not use an Oxford Academic personal account. When on the institution site, please use the credentials provided by your institution.Select your institution from the list provided, which will take you to your institution's website to sign in.Click Sign in through your institution.Shibboleth / Open Athens technology is used to provide single sign-on between your institution’s website and Oxford Academic. This authentication occurs automatically, and it is not possible to sign out of an IP authenticated account.Ĭhoose this option to get remote access when outside your institution. Typically, access is provided across an institutional network to a range of IP addresses. If you are a member of an institution with an active account, you may be able to access content in one of the following ways: Hito Steyerl: This is the future is on view now at the AGO through February 23 on Level 5 of the Vivian & David Campbell Centre for Contemporary Art.Īdmission to the AGO Collection and all special exhibitions is always free for AGO Members, AGO Annual Pass holders and visitors 25 and under.Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. Poor images show the rare, the obvious, and the unbelievable – that is, if we can still manage to decipher it."ĭon’t miss your chance to see the incredible work of Hito Steyerl in person. They spread pleasure or death threats, conspiracy theories or bootlegs, resistance or stultification. In it, she describes the poor image as one that is “ dragged around the globe as commodities or their effigies, as gifts or as bounty. In this now iconic text, the artist builds on the ideas seen in November and Lovely Andrea, giving definition to these travelling images and leaving us with much to consider. Two years following the release of Lovely Andrea, Steyerl published an essay entitled In Defense of the Poor Image. When Steyerl writes about media and power, she is thinking through her own manipulations and abuses in this realm.” But all of Steyerl’s essays are personal, because the essay – as an expression and exploration of the author’s position – is always personal…. ![]() “ Lovely Andrea may be Steyerl’s most personal video. Writing in the exhibition catalogue, critic and writer Brian Droitcour urges us to consider every work by Steyerl as intensely autobiographical. An unusual portrait of how erotic images circulate, Steyerl weaves into her search ironic footage of Spider-man and Wonder Woman, and chilling footage of prisoners held in Guantanamo. The search is complicated by time and the fact Steyerl used a pseudonym, Andrea, when it was originally taken. In Steyerl's 2007 film Lovely Andrea, the artist is cast as both detective and missing subject, as she returns to Japan to find a long-lost erotic photo of herself. The title of the film is an allusion to the period of disillusionment that came following the Russian Revolution of October, 1917. The film then shifts its focus to the role of German munitions in Turkey. Inspired by the discovery of a poster (that had a picture of her teenage best friend Andrea Wolf) that Steyerl found discarded on the floor of a porn cinema, the 25-minute film charts, through documentary footage, found footage, movie clips and narration, Wolf’s journey from activist to member of the PKK (Parti Karkerani Kurdistan, or Kurdistan Workers’ Party), and following her death, the adoption of her snapshot as a symbol of martyrdom. Including footage from her first movie – a Kung Fu type thriller made when Steyerl was 17 – November (2004) is meditating on the role of images in revolution. Bubbling with her hallmark incisiveness and humour – and echoing with infectious pop songs – these films are not unique in their willful blending of the personal and political, but stand out for their reliance on that most tangible of images: a snapshot. Nestled within her current solo exhibition, Hito Steyerl: This is the future, is a pair of strikingly autobiographical works. A writer, artist and filmmaker renowned for her acute observations of our contemporary world, Hito Steyerl is not afraid to turn the camera on herself. ![]()
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