"This installation or performance work puts my own earlier film of the Mona Lisa (1973) through another stage of transformation – my own irretrievable self of some 34 years ago is now also part of the subject I first saw the ‘actual’ ‘Mona Lisa’ when I was about thirteen. Of course I had seen dozens of reproductions in books and postcards by then and the popular mythology of the enigmatic smile was already well engrained in my mind. My strongest impression, as I recall, was how small and unsurprising it was – a heavily protected cultural icon – no longer really a picture – and I was much more excited by the painting of the distant landscape than by the face. My own ‘version’ of ‘la Giaconda’ was never an homage, nor like Marcel Duchamp’s ‘L.H.O.O.Q’, an attack on its cultural power. Instead it came from a fascination with change and transformation – maybe also with arbitrary appropriation." Malcolm Le Grice
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Santos e Demônios
Um Criminoso Decente
Dominado Pelo Crime
Xuxa e os Duendes
Jogos de Sangue
A Garota de Lugar Nenhum
Kevin Hart: Eu Já Explico
Captain Nulle
Bratz: Good Vibes
Florence Fight Club
O Exorcismo de Molly Hartley
Ramusiana
Scooby-Doo: Agence toutou risques, vol. 1 : Le voleur de vélo
Man In The Arena
Strange Object
Re-Cycling
Psycho/Viennale Spot
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Jurassic Fight Club - Cannibal Dinosaur Claymation"This installation or performance work puts my own earlier film of the Mona Lisa (1973) through another stage of transformation – my own irretrievable self of some 34 years ago is now also part of the subject I first saw the ‘actual’ ‘Mona Lisa’ when I was about thirteen. Of course I had seen dozens of reproductions in books and postcards by then and the popular mythology of the enigmatic smile was already well engrained in my mind. My strongest impression, as I recall, was how small and unsurprising it was – a heavily protected cultural icon – no longer really a picture – and I was much more excited by the painting of the distant landscape than by the face. My own ‘version’ of ‘la Giaconda’ was never an homage, nor like Marcel Duchamp’s ‘L.H.O.O.Q’, an attack on its cultural power. Instead it came from a fascination with change and transformation – maybe also with arbitrary appropriation." Malcolm Le Grice
No momento, não sabemos de nenhum serviço de streaming onde você possa assistir Eighteen fragments from Malcolm Le Grice’s After Leonardo
