Mondays

Monday Night 01.24.05@19:30 Rosalind Nashashibi + celebration

Monday Night 01.24.05@19:30 Rosalind Nashashibi + celebration

1. About this Monday night
2. About Rosalind Nashashibi
3. About her work
4. what was written
5. the films

**free and open to all**

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1. About this Monday night

What: artist presentation + celebration
Where: 16 beaver str. 4th floor (directions below)
When: Monday Night 01.24.05 @ 19:30
How: like that

We are happy to be back, this why we need to celebrate together, so please bring a drink or something you really like… after the presentation we will have a drink together, chit chat and so on… also if you have suggestions for the coming weeks please let us know, social, political, artistical, recreational etcetera…

We are also happy to have Rosalind Nashashibi who will introduce her work. She is currently on a residency on Beaver Street, next door.

We will screen four of her short films, and some of her recent works on paper followed by an open discussion.

Midwest: Field 2002, 3.5 minutes, Midwest 2002, 11 minutes, Hreash House, 2004, 20 minutes, Juniper Set, 2004, 3 minutes

For film short description see #5 below

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2. About Rosalind Nashashibi

Born in London in 1973, Rosalind Nashashibi lives and works in Glasgow, Scotland. She graduated from the MFA in Glasgow School of Art in 2000. She is currently on a six month residency in Manhattan, organised by the Scottish Arts Council. Recent solo shows include Kunsthalle Basel, Switzerland in 2004, and CCA, Glasgow in 2004. In 2003 she received the Beck's Futures Art prize following the exhibition at the ICA in London. Also in 2003, she was included in Scotland at the Venice Biennale.

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3. About her work

Rosalind Nashashibi makes films and works on paper.
She shoots on 16mm film and shows her work as dvds or 16mm film loops. Her interests on film include a visual and aural exploration of the institutions that we build and live by. She films in public and private spaces, turning seemingly random scenes of the everyday into slow paced and rhythmic compositions.

Her interest stems from the idea that the institutions we negotiate; both those that we build such as family, and those that we are provided with by state or employer, are the political framing of our lives.

Her subjects have included Midwestern neighborhoods, Salvation Army lunches, a group flying remote control planes, British hospitals, a family home in Nazareth and the university library in Glasgow.
Some recent films and works on paper have explored static objects, becoming sculptural exploration in time based and 2D work. Her work on paper utilizes collage and screen print, processes that she equates with the process of film making.
In both strands of her practice she is exploring relations between the abstract and the figurative, or ‘real’, the observed and the invented.

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4. what was written

There is an article on Rosalind Nashashibi by Jennifer Higgie in the current issue of Frieze (issue 88, p.101).

Excerpt below

“ Everything you need to know about this moment, she seems to be saying, is here in front of you. Importantly, Nashashibi never translates or subtitles. In an age of over-determined art experiences, pretentious explanations and dramatic news footage this is refreshing, an appeal to those aspects of our intelligence that are fuelled by empathy and recognition of common ground, despite geographical, cultural or linguistic differences. “

Rosalind Nashashibi by Jennifer Higgie, Frieze,
January/February 2005, issue 88. p.101

“ The films transparently reflect their subject. The environment dictates the way the characters will move. The way the characters move informs how the films will be edited. Also choreographed by a system, the camera behaves on the street according to the rules of public space. The point of view is detached for the same reasons we avoid people’s eyes on the street, and don’t walk close to strangers. These panoramas are like cinematic interludes, interspersed with glimpses of narrative: an empty car, a man greeting a friend, a figure seen through a window, the group in the café. Human presence activates landscapes and warms interiors, but does not carry a cumulative motive. Holding the Nebraskan town up to the stencil of the movie, we feel a vacuum of plot that reflects the vacuum of middle America.”
Rosalind's Patterns, by Lucy Skaer, from Humaniora,
Rosalind Nashashibi, The Fruitmarket Gallery,
Edinburgh 2003.

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5. the films

Midwest: Field 2002, 3.5 minutes
Midwest 2002, 11 minutes

These were both shot in Omaha, Nebraska, whilst
Nashashibi was on a residency programme in winter
2001. Midwest Field shows a group of remote control
glider fliers, and Midwest shows people loitering or
meeting in a mexican cafe in the meaner streets of
Omaha.

Hreash House, 2004, 20 minutes

This is a portrait of a Palestinian extended family,
living in one building of their own design in
Nazareth. It was shot during Ramadan 2003, and shows
preparations and aftermath of a feast, as well as
everyday activities.

Juniper Set, 2004, 3 minutes

This is a silent film loop, made to be shown on 16mm,
it is a portrait of patterned train seats on Scottish
commuter train. The seats take on energetic and human
qualities, reminding the British viewer of public
transport blues and suburban life, and others of an
essence of British life.