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DESCRIPTION:\n“Sussman’s fleetingly allegorical and seemingly self-gen
 erating sci-fi film … inherits the tradition of Godard’s Alphaville\, 
 Tarkovsky’s Stalker\, Fassbinder’s World on a Wire\, and Resnais’s L
 ast Year at Marienbad.” —BOMB \n\n\nThis seemingly self-generating sci
 -fi film never ends\, and never really begins\, either. Drawing on more th
 an 30 hours material that has been converted into digital files—each tag
 ged with terms to identify the contents—whiteonwhite:algorithmicnoir is 
 a media piece that selects the order of those files based on an algorithm.
  The connections\, generated from the so-called “Serendipity Machine\,
 ” are displayed on the monitor on the lefthand side of the screen. Never
  the same\, the formula develops the story of a mysterious Mr. Holz\, an i
 nformant traversing a failed utopian country in post-Soviet Central Asia.\
 nContinuously shuffling 80 voice-overs\, 150 pieces of music\, and 3\,000 
 clips shot in Kazakhstan\, Russia\, and Dubai\, whiteonwhite offers fascin
 ating insights into genre filmmaking. This is multimedia artist Eve Sussma
 n’s third in a series that expands upon the images and implications of w
 ell-known paintings. Her first\, 89 Seconds at Alcázar (2004)\, imagined 
 the space and time surrounding Velázquez’s Las Meninas\, and her second
 \, The Rape of the Sabine Women (2007)\, takes inspiration from the Sabine
  paintings of Poussin\, Rubens\, and David. In this piece\, Sussman—with
  her ad hoc think-tank collaborators\, the Rufus Corporation—looked to K
 azimir Malevich’s emblematic 1918 painting White on White as a starting 
 point\, building a narrative onto the Russian artist’s ideas about abstr
 action and transcendence to create “a gorgeous\, hypnotic montage of bla
 sted utopianism” (Art in America).
LOCATION:Lecture Room\n
SUMMARY:whiteonwhite: algorithmicnoir
URL:http://www.walkerart.org/calendar/2012/whiteonwhite-algorithmicnoir
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