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Rose McLaren

Rose McLaren is an artist in London.



Articles Available Online


Talk Into My Bullet Hole

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July 2015

Rose McLaren

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July 2015

‘Someday people are going to read about you in a story or a poem. Will you describe yourself for those people?’ ‘Oh, I don’t...

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May 2014

Art Does Not Know a Beyond: On Karl Ove Knausgaard

Rose McLaren

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May 2014

Karl Ove Knausgaard’s My Struggle has an oddly medieval form: a cycle, composed of six auto-biographical books about the...

Artist James Richards appropriates audio-visual material gathered from a range of sources, which he then edits into elaborate, fragmented collages   But whereas his art-historical forefathers favoured a conceptually-driven, emotionally-distanced approach – in the case of materialist film artists like Hollis Frampton and those of the London Filmmakers’ Co-op – or followed an overtly political agenda – like the ‘Scratch’ filmmakers of the 1980s – Richards’ video works are more personal endeavours, seemingly steered by feeling rather than theoretical argument or point-proving Intentionally insular, his works disrupt narrative conventions, offering little that can be straightforwardly understood The disparity of his sources betrays an aggressively curious mind – obscure TV clips, scenes from famous films, advertising segments, internet memes and CGI animations are accumulated and redeployed with great precision The content seesaws relentlessly from the oblique to the clichéd, the mystifying to the mundane Meaning is generated through abundance, by way of allusion, ellipsis and unity of tone; the lack of legibility counterbalanced by a strong sense of mood   His recent work at London’s Chisenhale Gallery, Not Blacking Out, Just Turning the Lights Off, sees him add his own material to this characteristic medley of found-footage In these passages, Richards’ camerawork is deliberately amateur, the camera handled with a lustful belligerence Whether using cheap in-camera effects or shoving the lens hysterically close to the subject of his regard, the result is a fevered fanaticism, Richards’ desire to capture becoming an assault on the image, the camera akin to a crude prosthetic extension of his body Sound is used in a similar way, with songs, poems, and spoken segments seeming to verbalise on the artist’s behalf The volume is shockingly loud in parts, climaxing with the poem ‘Slowly: a plainsong from an older woman to a younger woman’ by American writer and activist Judy Grahn A curdled lament conducted by the same women at different ages, unable to understand one another across the generations, it is a deeply moving rendition   A two-channel projection shown on opposing screens and separated by rows of backless benches, Not Blacking Out… shows an astute sensitivity to the sculptural concerns of

Contributor

August 2014

Rose McLaren

Contributor

August 2014

Rose McLaren is an artist in London.

The Prosaic Sublime of Béla Tarr

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Issue No. 6

Rose McLaren

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Issue No. 6

I have to recognise it’s cosmical; the shit is cosmical. It’s not just social, it’s not just ontological, it’s really huge. And that’s why we...
Stalker, Writer or Professor? Geoff Dyer's Zona and Genre

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February 2012

Rose McLaren

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February 2012

‘So what kind of a writer am I, reduced to writing a summary of a film?’ wonders Geoff Dyer half way through Zona. Such...

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Prize Entry

April 2017

Abu One-Eye

Rav Grewal-Kök

Prize Entry

April 2017

He left two photographs.   In the first, his eldest brother balances him on a knee. It must be...

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July 2011

Editorial: a thousand witnesses are better than conscience

The Editors

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July 2011

The closure of any newspaper is a cause for sadness in any country that prides itself, as Britain does,...

Art

Issue No. 7

Pyramid Schemes: Reading the Shard

Lawrence Lek

Art

Issue No. 7

These sketches were created to illustrate an essay by Lawrence Lek in The White Review No. 7, ‘Pyramid Schemes:...

 

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