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"Roelstraete, Dieter"
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End Of Money KINDLE EDITION
This digital publication (with a limited print edition of 100) accompanies the exhibition The End of Money (22 May 7 August 2011).
eBook
The Way Ahead: The Association for the Advancement of Creative Musicians and Chicago’s Black Arts Revolution
Dieter Roelstraete surveys the Association for the Advancement of Creative Musicians, and its place within the flourishing of African American culture in the US of the 1960s and 70s.
Journal Article
The Allegorical Impulse, Revisited: Emily Wardill, in Fragments
The object is a major issue on Emily Wardill's art and is a major presence in many of her films and related projects. They appear as key players, symbols of some thing as much as things in themselves and things for themselves. The blurring of this distinction is significant in her work, not just in \"Game Keepers Without Game but also in \"The Diamond (Descartes Daughter)\", 2008, a loose-handed homage to half-a-dozen heist movies in which a million-dollar diamond is protected by a dense web of lasers. Even when the object is not so palpably present, its language insinuates itself into the films' narrative fabric. In addition to the various objects on Wardill's films, we must also note the artist's emphasis on the film medium as an object or thing in its own right, or at least on the so-called film apparatus as a constellation of various discreet objects.
Journal Article
The mass ornament revisited: reading from Hans Eijkelboom's Photo Notes
Roelstraete singles out one source of anxiety in the cauldron of orientalist fantasies, the spectral terror of oriental sameness, of repetition on a mass, industrialised scale, or, in other words, fear of numbers, in relation to the work of Hans Eijkelboom, a Dutch photo-artist who was born in 1949. In 2007, Eijkelboom published \"Paris-New York-Shanghai\", a selection of 1,218 photographs taken in the title's locations in the closing years of his \"Photo Notes\" project, which lasted from 8 November 1992 to 8 November 2007. Eijkelboom's China, that bewildering empire of the numbers, is as much a site of difference as it is a site of sameness, just like every other culture in the globalized capitalist world. In all three cities, the same precarious balance between difference and sameness, articulated by the way people dress and comport themselves in public, persists. However it be, the ancient Western fear of the oriental sameness, really a fear of numbers, here appears assuaged by the seemingly benign differentiating effects of global capitalism. Seen through Eijkelboom's lens, the rise of China that is so often the source of all kinds of xenophobic anxieties becomes a rather more colourful, comical affair, a carnival of subtle, nearly imperceptible differences.
Journal Article