Niamh O’Malley’s Glasshouse (2014) draws out a series of mesmeric relationships between motion and perception, interiority and the lure of outside space. Masterfully working within a two-channel framework, O’Malley establishes an enigmatic distance between two tracking shots of the same site – a row of derelict greenhouses situated near Odense in Denmark. The viewer’s inclination is to try to adjust and find a meeting point between the two gliding screens but Glasshouse defies the possibility of a single viewing perspective and instead creates a compelling portrait of discrepancy.
☆Donation:
Guide
Cutting the Puppeteer´s Strings
For Data You Are, And To Data You Shall Return / 为数据所生，亦归数据而去
Disinformation - “Antithesis”
the end of work + USELESS Micro Commissions
Flowers in the Fire
THE UNFATHOMABLE UNDERSTANDING: MOSHGAN REZANIA & ROBERTA JEAN SMITH
exhausted and exuberant
Now That's What I Call Dave Buonaguidi! 10
Paik’s Video Study - Nam June Paik Art Center
Brea Weinreb - Between Men
Paik’s Video Study
Jean-Michel Basquiat's 'Untitled (Skull)
MMCA Symposium : WHAT DO MUSEUMS CONNECT? MUSEUMS IN A POST-PANDEMIC WORLD
Niamh O'Malley, 'Glasshouse' (2014)
Frida Kahlo’s Self-Portraits: A Video Essay
Tilda Swinton Pays Tribute to the Films of Pier Paolo Pasolini
Erwin Olaf. Strange Beauty
