_The (Re)Punishment of the Simonists_ is part of a series of
lithographs and animations composed of abstracted elements from Gustave
Dore’s illustrations of Dante Alighieri’s _Divine Comedy_; figurative
compositions constructed from manipulated 19th century interpretations
of 14th century super-sensible landscapes.
Gustave Dore’s illustrations are deconstructed and reassembled before
being returned to their source material. These new assemblages are
folded back into Dante’s narrative, taking up residence in the
environments they were composed of.
Novel forms emerge and disperse against the exposition from Mendelssohn’s _Symphony No. 3 in A minor_.
Lavoro Macchinine is a collaborative moving image (Alexis Grey Hildreth) and sound (Ora Cogan)
work that deconstructs the opening credits and reimagines the musical
overture in the title sequence from the Italian period drama Il Gatopardo (1963).
Lavoro Macchinine occults the film’s original static text with a
mercurial, kinetic typography, built from the very glyphs it is at pains
to obfuscate. Through gestation, approximation, replication, and
assimilation; Lavoro Macchinine discovers its own alien
properties of form and behaviour, while simultaneously exploring the
boundaries of its cinematic environment.
But should I be asked, instead, whether I would propose the West, such as it is today, as a model to my country [Russia], I would frankly have to answer negatively. No, I could not recommend your society as an ideal for the transformation of ours. Through deep suffering, people in our own country have now achieved a spiritual development of such intensity that the Western system in its present state of spiritual exhaustion does not look attractive. Even those characteristics of your life which I have just enumerated are extremely saddening.
—Aleksandr Solzhenitsyn, Between Two Milestones, Sketches of Exile, 1974-1978
Sci-fi horror, PHASE IV (1974). Directed by graphic designer Saul Bass—his only feature—and starring, among others, Nigel Davenport and Lynne Frederick.
