ngg_shortcode_0_placeholder<\/p>\n
MY HAND OUTSTRETCHED: PROGRAMME 4 Robert Beavers, From the Notebook of \u2026, 1971\/1998, 35mm, colour, sound, 48 min Robert Beavers, The Painting, 1972\/1999, 16mm, colour, sound, 13 min <\/strong> MY HAND OUTSTRETCHED: PROGRAMME 4 Saturday 24 February 2007, at 2pm London Tate Modern Robert Beavers, From the Notebook of \u2026, 1971\/1998, 35mm, colour, sound, 48 min From the Notebook of \u2026 was shot in Florence and takes as its point of departure Leonardo da Vinci\u2019s notebooks and Paul Val\u00e9ry\u2019s essay on da Vinci\u2019s process. These […]<\/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-4433","post","type-post","status-publish","format-standard","hentry","category-robert-beavers"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/4433","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=4433"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/4433\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=4433"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=4433"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=4433"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nSaturday 24 February 2007, at 2pm
\nLondon Tate Modern<\/strong><\/p>\n
\n<\/strong>From the Notebook of \u2026<\/em> was shot in Florence and takes as its point of departure Leonardo da Vinci\u2019s notebooks and Paul Val\u00e9ry\u2019s essay on da Vinci\u2019s process. These two elements suggest an implicit comparison between the treatment of space in Renaissance art and the moving image. The film marks a critical development in the artist\u2019s work in that he repeatedly employs a series of rapid pans and upward tilts along the city\u2019s buildings or facades, often integrating glimpses of his own face. As Beavers notes in his writing on the film, the camera movements are tied to the filmmakers\u2019 presence and suggest his investigating gaze. (Henriette Huldisch, Whitney Museum of American Art)<\/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":"