ngg_shortcode_0_placeholder<\/p>\n
MY HAND OUTSTRETCHED: PROGRAMME 6 Robert Beavers, Sotiros, 1976-78\/1996, 35mm, colour, sound, 25 min Robert Beavers, AMOR, 1980, 35mm, colour, sound, 15 min<\/strong> MY HAND OUTSTRETCHED: PROGRAMME 6 Sunday 25 February 2007, at 12pm London Tate Modern Robert Beavers, Sotiros, 1976-78\/1996, 35mm, colour, sound, 25 min In Sotiros, there is an unspoken dialogue and a seen dialogue. The first is held between the intertitles and the images; the second is moved by the tripod and by the emotions of […]<\/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-4437","post","type-post","status-publish","format-standard","hentry","category-robert-beavers"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/4437","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=4437"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/4437\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=4437"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=4437"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=4437"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nSunday 25 February 2007, at 12pm
\nLondon Tate Modern<\/strong><\/p>\n
\n<\/strong>In Sotiros<\/em>, there is an unspoken dialogue and a seen dialogue. The first is held between the intertitles and the images; the second is moved by the tripod and by the emotions of the filmmaker. Both dialogues are interwoven with the sunlight\u2019s movement as it circles the room, touching each wall and corner, detached and intimate. (Robert Beavers)<\/p>\n
\nAmor<\/em> is an exquisite lyric, shot in Rome and at the natural theatre of Salzburg. The recurring sounds of cutting cloth, hands clapping, hammering, and tapping underline the associations of the montage of short camera movements, which bring together the making of a suit, the restoration of a building, and details of a figure, presumably Beavers himself, standing in the natural theatre in a new suit, making a series of hand movements and gestures. A handsomely designed Italian banknote suggests the aesthetic economy of the film: the tailoring, trimming, and chiselling point to the editing of the film itself. (P. Adams Sitney, Film Comment)<\/p>\n","protected":false},"excerpt":{"rendered":"