Art Metropole

#05905

Drawing Room Confessions #6: Rosalind Nashashibi

Date

2013

Publisher

Mousse Publishing

Format

Periodicals

ISBN

9788867490042

Size

11 × 17 × 0.7 cm

Length

48 

Description

(…) You can go into a situation knowing that you’re interested and even knowing why you’re interested, but it’s the filmmaking that gets you closer to the parts of your knowledge that are inaccessible or not yet accessible. The way I used to make films was to look at places that attracted me – places that intimidated me or excited me or places I liked – and then film in order to really look at them. Now I try to get a bit closer to knowing, to constructing something. I’m already one step further when I start than I used to be. I’d like to put those two ways of working together. Still, it’s really only about trying to find out why I’m going back to this place or situation in the first place. (…)

THE CAST

ROSALIND ……………………………….. Rosalind Nashashibi1

THE EGOIST ……………………………….. Raimundas Malašauskas2

THE BLIND MAN ……………………………….. Laure Prouvost3

TANGO ……………………………….. Emma Davie4

—

Made of words and exchanges, with no images, Drawing Room Confessions is open to diverse practices and voices. It is named after a game played at the end of the nineteenth century in England and France, which consisted of a fixed questionnaire answered by players to reveal their tastes, aspirations and personalities. For every issue of the journal, one artist is invited to play the serious and playful game of conversation. ?Each section follows a set of rules, only the players change, as interviewers from a wide range of fields contribute to a portrait of the artist at a certain time.

“You can go into a situation knowing that you’re interested and even knowing why you’re interested, but it’s the filmmaking that gets you closer to the parts of your knowledge that are inaccessible or not yet accessible. The way I used to make films was to look at places that attracted me – places that intimidated me or excited me or places I liked – and then film in order to really look at them. Now I try to get a bit closer to knowing, to constructing something. I’m already one step further when I start than I used to be. I’d like to put those two ways of working together. Still, it’s really only about trying to find out why I’m going back to this place or situation in the first place.”

1.