Candice Breitz talks to Rosemary Heather

19.06.10
When forgotten, pop stars become like wallpaper in our daily lives. Once they become ensconced as icons, they take on an ulterior function. Probably only students listen to Bob Marley these days, but this doesn’t stop me from singing one of his songs, involuntarily, when walking down the street. This is one of the subjects of Candice Breitz‘s work. By recording a popular song as ...
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Thessaloniki Report by Rosemary Heather

13.01.10
Karpo Godina , I Miss Sonia Henie (1972) Rosemary Heather reports on Serbian Kino Clubs, Carmelo Bene, Timothy Carey, and Jeff Keen at the Experimental Forum at the 50th Thessaloniki International Film Festival. The Experimental Forum section at the 50th Thessaloniki International Film Festival offered such a rich viewing experience it is difficult to know where to begin when discussing it. The quality of the presentation was ...
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Bruce LaBruce

15.11.09
LA Zombie, Bruce LaBruce Bruce LaBruce talks to Rosemary Heather about his upcoming movie LA Zombie, radical porn, and the end of the world. Now we’re in business.  Hi. Is the record light on? Yeah, yeah. What would you like to know? I’ve looked at your LA Zombie blog, where you say “Continuity is bourgeois.” I said that actually on the DVD commentary of Otto. So that reminded me of that ...
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Rosemary Heather on Toronto International Film Festival 2009

11.11.09
Face, Tsai Ming-Laing Rosemary Heather writes for APEngine on Ernie Gehr, Harun Farocki, Apichatpong Weersethakul, Tsai Ming-Liang and Harmony Korine at this year’s Toronto International Film Festival. For all their stately elegance and clarity of intent, on the whole, the films I saw in the Wavelengths section of TIFF, a series of screenings devoted to avant-garde film, were not involving. The comments I jotted down tell the ...
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Army of YouTube by Rosemary Heather

07.10.09
Still from Jib Kidder's Heavenhurst Prophet Posse Faced with the awe-inspiring popularity of web-monoliths like YouTube, contemporary art risks becoming nothing more than a quaint relic of the 20th century. It’s probably not fair to compare contemporary art practice with YouTube; yet there is evidence to suggest that somewhere in the ulterior of its collective brain, the art world does just this, and finds itself ...
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