Word: visualizes
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...critics and exhibition curators who wowed the faceless bureaucrats at the Culture Ministry with a proposal teeming with 21st century buzzwords. Their brainchild would be a "living laboratory of contemporary art," a "non-defined space in which different projects could cross-fertilize one another," a "tool in which the visual arts played the role of a search engine." Contracts were signed, money changed hands and Paris' culture vultures settled down to await the new venue...
...problem with the Palais de Tokyo's approach: it's fake. The works on display are all in keeping with the bogus trash aesthetic. The most significant is Chinese artist Wang Du's No Comment, a giant wastepaper basket filled with old newspapers and three TV sets, a visual pun on the notion of trash TV. In Taxi Biennale - a garishly airbrushed comic strip presenting the adventures of "Curatorman, the young CEO of the global player ?uratorman Inc." - Thailand's Navin Rawanchaikul offers a labored reworking of another hoary old chestnut: the relationship between art and commerce. American Naomi Fisher...
...cover of his new collection of 21 short stories and a novella illustrates this philosophy graphically. A cartoon man with an enormous smiley face shoots himself with a handgun in the left temple as blood emerges from the right. It’s a startling visual collision of “Don’t Worry Be Happy” meets Columbine. Add in the collection’s novella about an afterlife for those who commit suicide, cheerfully entitled “Kneller’s Happy Campers,” and it seems fair to ask if Keret?...
...cover of his new collection of 21 short stories and a novella illustrates this philosophy graphically. A cartoon man with an enormous smiley face shoots himself with a handgun in the left temple as blood emerges from the right. It’s a startling visual collision of “Don’t Worry Be Happy” meets Columbine. Add in the collection’s novella about an afterlife for those who commit suicide, cheerfully entitled “Kneller’s Happy Campers,” and it seems fair to ask if Keret?...
...interesting at first, it soon becomes clear that he only does so because he has no clue how to segue from one scene to another. He also fails to set the proper tone and atmosphere, both of which should be vital in Mothman. Another problem is that his obvious visual tricks—superimposing images, Mothman-like figures and red eyes scattered all over, quick camera movements to emphasize urgency—never really build the sense of paranoia or tension it intends to, instead disconnecting the viewer from the film...