Dauer: 65 min.
«An example of film as philosophy, Isiah Medina’s 2015 visionary debut, 88:88, demonstrates what is truly possible with new technology, both for life and for cinema. 88:88’s visual collages and recurring trains of thought, work with and against the film’s audio track in intimate and jarring ways in order to create new patterns of thought, unity, and subjectivity. The film’s many tonal registers, textures, voices, and volumes illuminates what it really means to live and love in global financial capitalism.»
(Masha Tupitsyn, 2016)
«Both [Isiah] Medina and [Masha] Tupitsyn avoid the bypass that makes the zeitgeist thrill of some contemporary aesthetics so off-beam. They evoke the past and the most ancient (Derrida: Parmenides) to whizz into a present that’s deafening, to see it, to hear it out. That can’t be avoided. This work can’t be avoided, now or ever. In a wonderful interview with C Spencer Yeh, Tupitsyn speaks of what it means to make a ‘durational work’, of ‘work-as-time’, and of ‘time-stretching, time-pressing’. And this, she says, this work of listening, cannot be ‘sped up or bypassed’. The impossibility of bypass, at this time in history, is perhaps more intense than ever. The end faced is more and more end-like. The five years we had is still perhaps the five years we have, and the world is always charged and singed by a sense of ending, and yet something tightens. "Five years, that’s all we’ve got." [Helene] Cixous writes about this same end in Hyperdream, and says that the end we now face ‘is not death’. She is categorical about this. Something has changed. Something is happening to the rate and intensity of everything, and the way our brains hurt a lot, and we have to do the right invisible listening, with the right makers, to know what it is. There are many, fortunately. But there is something in the work of Tupitsyn and Medina in particular that allows us to start this work.»
Jonty Tiplady, FIVE YEARS: On the work of David Bowie, Isiah Medina and Masha Tupitsyn, 2016