{"id":876,"date":"2004-09-18T14:00:34","date_gmt":"2004-09-18T13:00:34","guid":{"rendered":"http:\/\/markwebber.org.uk\/archive\/?p=876"},"modified":"2018-01-25T14:58:29","modified_gmt":"2018-01-25T14:58:29","slug":"double-diaries","status":"publish","type":"post","link":"https:\/\/markwebber.org.uk\/archive\/2004\/09\/18\/double-diaries\/","title":{"rendered":"Double Diaries"},"content":{"rendered":"<p><a name=\"top\"><\/a><\/p>\n<p style=\"text-align: center;\">ngg_shortcode_0_placeholder<\/p>\n<p><b>EXPANDED CINEMA: DOUBLE DIARIES<br \/>\nSaturday 18 September 2004, at 2pm<br \/>\nDortmund PhoenixHalle<\/b><\/p>\n<p>Paul Sharits\u2019 film chronicles a journey he made to Romania in 1977 to see Brancusi\u2019s sculptures in the rural village of Turga Jiu. <i>The Great Ice-Cream Robbery<\/i>, made in collaboration with Claes Oldenburg, documents preparations for the artist\u2019s 1970 exhibition at the Tate Gallery, and his impressions of London at that time.<\/p>\n<p><b>Paul Sharits, Brancusi\u2019s Sculpture Garden At Tirga Jiu, 1977-84, 21 min, 2 screen film<br \/>\nJames Scott &amp; Claes Oldenburg, The Great Ice-Cream Robbery, 1970, 36 min, 2 screen film<br \/>\n<\/b><\/p>\n<a onclick=\"wpex_toggle(1731282921, 'Read more', 'Read less'); return false;\" class=\"wpex-link\" id=\"wpexlink1731282921\" href=\"#\">Read more<\/a><div class=\"wpex_div\" id=\"wpex1731282921\" style=\"display: none;\"><\/p>\n<p><b>EXPANDED CINEMA: DOUBLE DIARIES<br \/>\n<\/b>Saturday 18 September 2004, at 2pm<br \/>\nDortmund PhoenixHalle<\/p>\n<p><b>BRANCUSI\u2019S SCULPTURE GARDEN AT TIRGA JIU,<br \/>\nPaul Sharits, Brancusi\u2019s Sculpture Garden At Tirga Jiu, USA, 1977-84, <\/b><b>16mm, colour, sound, 21 min, 2 screen film<\/b><\/p>\n<p><b>THE GREAT ICE-CREAM ROBBERY<br \/>\nJames Scott &amp; Claes Oldenburg, UK\/USA, 1970, 16mm, colour, sound, 36 min, 2 screen film<br \/>\n<\/b><\/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":[31],"tags":[32,11],"class_list":["post-876","post","type-post","status-publish","format-standard","hentry","category-expanded-cinema-2004","tag-dortmund","tag-expanded-cinema"],"_links":{"self":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/876","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=876"}],"version-history":[{"count":0,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/posts\/876\/revisions"}],"wp:attachment":[{"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/media?parent=876"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/categories?post=876"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/markwebber.org.uk\/archive\/wp-json\/wp\/v2\/tags?post=876"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}