Some updates from my ‘day job’ desk-adventures. Happy to report that February is turning out to be quite the productive and creatively satisfying month. Click here to read the previous update.
It was interesting to hear what Kristina Borg had to say about her project You Are What You Buy, which takes an interdisciplinary approach to assessing the implications of shopping at the supermarket.
“One of the principal themes of this project is consumption – what and how we consume. This does not solely refer to food consumption; one can also consume movies, literature and more. However, in order to reach and engage with a wider audience I felt it was necessary to work in, with and around a place of consumption that is more universal and common for all. Let’s face it, whether it’s done weekly or monthly, whether we like it or not, the supermarket remains one of the places we visit the most because […] it caters for our concerns about sustenance and comfort.”
“An interdisciplinary approach definitely brings together different perspectives and different experiences and […] it could be a way forward for the local art scene to show and prove its relevance to one’s wellbeing. I think it is useless to complain that the arts and culture are not given their due importance if as artists we are not ready to open up to dialogue, exchange and distance ourselves from the luxury that one might associate with the arts. Talking about experience instead of a product might be what the local art scene needs.“
Ahead of their participation at the RIMA Photography Workshops, I got a chance to delve into the dynamics of migration — particularly the problematic way in which migratory flows are portrayed through mainstream political discourse and the media — with Sicilian photographer Mario Badagliacca, who tapped into his experience of documenting the realities of migration — most recently in my own native Belgrade — as well as Ivorian photographer Mohamed Keita, who took a self-taught route to photography after traversing Africa to reach Italy.
The power of photography is to fix the moment. Psychologically speaking, there’s a difference between perceiving a ‘fixed’ image and a ‘moving’ image (as in a video, for example). The ‘fixed’ image constrains us to reflect on it in a different way. In my case, I want the images to serve as a spur for further questions – to be curious about the stories I’m telling. I don’t want to give answers, but raise more questions. – Mario Badagliacca
I had fun watching the ‘Netflix Original’ iBoy — not a groundbreaking movie by any means, but certainly a fun way to spend an evening in the company of Young Adult urban sci-fi that slots into formula with a satisfying click.
“iBoy is yet another example of British cinema being able to strip down genre stories to their essentials and deliver up a product that, while hardly brimming with originality, still manages to create a satisfying piece of escapist entertainment. From Get Carter (1971) down to Kingsman (2014), the Brits sometimes manage to upend their Stateside counterparts by just cutting to the chase of what works without the need to inflate their budgets with unnecessary star power and special effects, while also toning down on any sentimentality and drama at script stage.”
Patreon essay | MIBDUL & ‘that uncomfortable swerve’
Not exactly a ‘day job’ entry — though I wish it were — this month’s Patreon essay for our MIBDUL crowdfunding platform was all about me panicking over not having enough space to write out the story as I was planning it, and needing to make some drastic changes to accommodate this new reality.
“The thing about the detailed outlining of issues – and the rough thumbnailing of the pages in particular – is that, unlike the planning stage [in my journal], I approach them largely by instinct. This is the time when you have to feel your story in your gut, because you need to put yourself in the position of the reader, who will be feeling out the story in direct beats instead of painstakingly – and digressively – planned out notebook excursions. (To say nothing, of course, of the fact that the story needs to look good on the page – that the artwork needs the necessary room to breathe).”