ngg_shortcode_0_placeholder<\/p>\n
MY HAND OUTSTRETCHED: PROGRAMME 3 Robert Beavers, Diminished Frame, 1970\/2001, 16mm, b\/w & colour, sound, 24 min <\/strong> Robert Beavers, Still Light, 1970\/2001, 16mm, colour, sound, 25 min MY HAND OUTSTRETCHED: PROGRAMME 3 Saturday 24 February 2007, at 12pm London Tate Modern Robert Beavers, Diminished Frame, 1970\/2001, 16mm, b\/w & colour, sound, 24 min There is in Diminished Frame 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 […]<\/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-4431","post","type-post","status-publish","format-standard","hentry","category-robert-beavers"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/4431","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=4431"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/4431\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=4431"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=4431"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=4431"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nSaturday 24 February 2007, at 12pm
\nLondon Tate Modern<\/strong><\/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
\n<\/strong>The first half of the film explores delicate nuances of lighting, colour and depth as Beavers shoots the face of a young man in various locales on the Greek island of Hydra, using a variety of customized masks and filters. The man\u2019s face remains constant throughout, surrounded by iconic elements in the landscape, like a pulsating Renaissance portrait. Still Light<\/em>\u2019s second half was shot in the London flat of art critic Nigel Gosling. The two halves of Still Light<\/em> bring to mind any number of structuralist binarisms: youth and age, creation and criticism, action and reflection, living landscape and mummified text. (Ed Halter, New York Press)<\/p>\n","protected":false},"excerpt":{"rendered":"