Libidinal Circuits in 2 or 3 Things I Know About Her (1967) – Jean-Luc Godard.

Jean-Luc Godard has always had a quiet interest in the relationship between his politics and the space they inhabit.  The topographies of modernity coinciding with his political questioning of capitalism occurs in films such as Tout Va Bien (1972), La Chinoise (1967), and Weekend (1967) – looking in particular at a factory, an inner-city flat/Maoist commune, and a busy roadway .  These spaces have provided more … Continue reading Libidinal Circuits in 2 or 3 Things I Know About Her (1967) – Jean-Luc Godard.

Ai Weiwei’s Pots and Jean-Luc Godard’s Celluloid.

While Ai Weiwei’s work with pots represent the artist’s more accessible work, there’s something about his actions and decisions with the, often expensive and historically relevant, pots that seem weirdly cinematic.  This isn’t to say that they look like something out of a film (though actually they could easily work as something surreal given the right audience) but that the ideologies behind the works have … Continue reading Ai Weiwei’s Pots and Jean-Luc Godard’s Celluloid.