ngg_shortcode_0_placeholder<\/p>\n
TO THE WINGED DISTANCE: PROGRAMME 4 Robert Beavers, Palinode, 1970\/2001, 16mm, colour, sound, 21 min <\/strong> Robert Beavers, Diminished Frame, 1970\/2001, 16mm, b\/w & colour, sound, 24 min <\/strong> Robert Beavers, The Painting, 1972\/1999, 16mm, colour, sound, 13 min <\/strong> TO THE WINGED DISTANCE: PROGRAMME 4 Sunday 11 February 2007, at 3pm London Tate Modern Robert Beavers, Palinode, 1970\/2001, 16mm, colour, sound, 21 min In Palinode, a disk-shaped matte continually shifting in and out of focus alternately blocks part of the image or contains it. Its respiratory rhythm matches operatic fragments of Wladimir Vogel\u2019s \u2018Wagadu\u2019, […]<\/p>\n","protected":false},"author":4,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"footnotes":""},"categories":[133],"tags":[],"class_list":["post-4421","post","type-post","status-publish","format-standard","hentry","category-robert-beavers"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/4421","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=4421"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/4421\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=4421"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=4421"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=4421"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nSunday 11 February 2007, at 3pm
\nLondon Tate Modern<\/strong><\/p>\n
\nIn Palinode<\/em>, a disk-shaped matte continually shifting in and out of focus alternately blocks part of the image or contains it. Its respiratory rhythm matches operatic fragments of Wladimir Vogel\u2019s \u2018Wagadu\u2019, as the camera studies a middle-aged male singer in Zurich, singing, eating, window shopping, meeting a young girl. The filmmaker told himself, \u201cDon\u2019t let yourself know what that film is about while you are making it.\u201d (P. Adams Sitney, Film Comment)<\/p>\n
\nThere is in Diminished Frame<\/em> a balance between a sense of the past seen in the views of West Berlin, filmed in black & white and a sense of the present in which I film myself showing how the colour is being created by placing filters in the camera\u2019s aperture. It is the space of the city and of the filmmaker. I searched for signs of war\u2019s aftermath and a few moments of ordinary existence. (Robert Beavers)<\/p>\n
\nThe Painting<\/em> intercuts shots of traffic navigating the old-world remnants of downtown Bern, Switzerland, with details from a 15th-century altarpiece, The Martyrdom of St. Hippolytus. The painting shows the calm, near-naked saint in a peaceful landscape, a frozen moment before four horses tear his body to pieces while an audience of soign\u00e9 nobles looks on; in the movie\u2019s revised version, Beavers gives it a comparably rarefied psychodramatic jolt, juxtaposing shots of Gregory Markopoulos, bisected by shafts of light, with a torn photo of himself and the recurring image of a shattered windowpane. (J. Hoberman, The Village Voice)<\/p>\n","protected":false},"excerpt":{"rendered":"