The exhibition Rosalind Nashashibi: Bachelor Machines, curated by OCAD Curator Charles Reeve, tours to Presentation House Gallery in North Vancouver.
"We expect movies to tell stories — these groundbreaking works both confirm and disrupt that expectation," said Reeve. "And the fact that they're on celluloid emphasizes the differences between digital and conventional technologies. Film, video and DVD are complements, not competitors."
Bachelor Machines Part I (2007) premiered at the Scottish pavilion in last year's Venice Biennale. The 16mm work was filmed on an Italian freighter sailing from Italy to the Baltic Sea. "Bachelor Machines I portrays the single-sex society of men aboard a cargo ship, and describes the machine that they serve as much as the men themselves," said Nashashibi, who calls the ship "a bachelor-maker, for the way of life it imposes."
Bachelor Machines Part II (2007) comprises two simultaneously screened projections. On the left appears artist Thomas Bayrle and his wife Helke, while on the right are interwoven altered scenes from Nashashibi's earlier works. The soundtrack plays Bayrle's voice describing his apocalyptic vision of our machine-dominated world. Nashashibi describes the term 'Bachelor Machines' as encompassing something sexual — simultaneously masculine and emasculating.
About Rosalind Nashashibi
Group interactions and social rituals are the starting points for Rosalind Nashashibi, who primarily uses 16mm film. She is concerned with portraying the psychological atmosphere of locations and detecting subconscious projections, beginning from scenes filmed of everyday life. Born in Croydon in 1973, Nashashibi studied at Sheffield University and Glasgow School of Art, where she completed her MFA in 2000. Based in London, she is represented by Harris Liebermann, New York and doggerfisher/Susanna Beaumont, Edinburgh.