{"id":1373,"date":"2007-10-28T12:00:09","date_gmt":"2007-10-28T12:00:09","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=1373"},"modified":"2018-01-25T14:54:53","modified_gmt":"2018-01-25T14:54:53","slug":"now-wait-for-last-year","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2007\/10\/28\/now-wait-for-last-year\/","title":{"rendered":"Now Wait for Last Year"},"content":{"rendered":"<p><a name=\"top\"><\/a><\/p>\n<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><strong>NOW WAIT FOR LAST YEAR<\/strong><strong><br \/>\nSunday 28 October 2007, from 12-7pm<br \/>\nLondon BFI Southbank Studio<\/strong><\/p>\n<p><strong>Rachel Reupke, Now Wait for Last Year, UK-China, 2007, 9 min (continuous loop)<\/strong><\/p>\n<p>In response to the rapid pace of property development in Beijing, Reupke references the visual style of architectural practice and corporate videos to present a sequence of fixed views of urban landscapes. Buildings which share the characteristics of both traditional and futuristic design are displayed, but all is not what it seems. Digital images cannot be trusted: these could be plans for future structures or computer-aided fantasy.<\/p>\n<p>Rachel Reupke lives and works in London. Recent exhibitions include <em>Land of Cockaigne<\/em>, Fabrica, Brighton; <em>Beyond the Country<\/em>, Lewis Glucksman Gallery, Cork; <em>Vid\u00e9o et apr\u00e8s<\/em>, Pompidou Centre, Paris (solo screening) and <em>24 Hour Fresh Air<\/em>, L\u2019Espace Crois\u00e9, Roubaix.<\/p>\n<p><em>Now Wait for Last Year <\/em>was produced as part of the Arts Council England International Fellowships Programme with Gasworks. The title is borrowed from Philip K. Dick.<\/p>\n<a onclick=\"wpex_toggle(1616355251, 'PROGRAMME NOTES', 'Read less'); return false;\" class=\"wpex-link\" id=\"wpexlink1616355251\" href=\"#\">PROGRAMME NOTES<\/a><div class=\"wpex_div\" id=\"wpex1616355251\" style=\"display: none;\"><\/p>\n<p><strong>NOW WAIT FOR LAST YEAR<\/strong><strong><br \/>\n<\/strong>Sunday 28 October 2007, from 12-7pm<br \/>\nLondon BFI Southbank Studio<\/p>\n<p><strong>NOW WAIT FOR LAST YEAR<br \/>\nRachel Reupke, UK-China, 2007, <\/strong><strong>video, colour, sound, <\/strong><strong>9 min<br \/>\n<\/strong>This video work reflects Rachel Reupke\u2019s long-standing fascination with science fiction and the inherent problem of visualising the future.<\/p>\n<p>Beijing is in the throws of a construction boom, break-neck in speed. Building sites are hemmed in by developers\u2019 hoardings, each displaying an architect\u2019s visualisation of what is to come in ambitious, blurry-soft style. Thousands of these billboards intrude on the streets: the future of the city rendered as illustrated inserts into the reality of its present \u2013 just as Beijing\u2019s tourist maps pre-empt the completion of these projects, in order to keep up with the relentless pace of change. This visual overlay of proposed onto existent gives the impression that time is being compressed, and that tomorrow might actually be running concurrently with today.<\/p>\n<p><em>Now Wait for Last Year <\/em>takes the idea of these developers\u2019 hoardings as its starting point. In a hybrid of architect\u2019s projection and corporate video, Beijing\u2019s buildings are presented in single-shot fixed frames, both monumental and unreal. Photographic in nature, but with visible post-production, the idea is that these images resist being located in a specific time or place. The collage aesthetic coupled with the incongruous design of some of these structures prompts the question as to whether these buildings actually exist in present day Beijing, are plans for future developments, or are sheer fantasy.<\/p>\n<p><a href=\"#top\">Back to top<\/a><\/p>\n<p><\/div>\n","protected":false},"excerpt":{"rendered":"<p>Alina Rudnitskaya\u2019s humanistic approach to documentary filmmaking often brings out the humour in her chosen subjects. As an introduction to her work, this programme depicts three diverse groups of contemporary Russian women.<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[25],"tags":[9],"class_list":["post-1373","post","type-post","status-publish","format-standard","hentry","category-london-film-festival-2007","tag-london-film-festival"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1373","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/comments?post=1373"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/1373\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=1373"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=1373"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=1373"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}