News : 2013/10

2013/10/31

Pavilions Without Walls at Performa 13

Tori Wrånes, The Opposite is Also True, Photo by Steinar Sekkingstad, 2010. Courtesy of the artist

OCA ANNOUNCES

Pavilions Without Walls
PERFORMA 13

1–24 November 2013
New York, NY, USA

The Pavilions Without Walls, a new Performa initiative modeled on the idea of the Venice Bienniale's pavilions, were created to forge strong partnerships between New York and countries around the world, allowing Performa to foster deeper levels of cultural and artistic exchange. The strategy of the inaugural year's Norwegian Pavilion is specifically to highlight cultural producers in Norway and present some of the country's most outstanding artists. The program is co-curated with leading institutions such as Ny Musikk, Henie Onstad Kunstsenter (HOK), Kunsthall Stavanger, Kunsthall Oslo, Hordaland Art Centre, Entrée and Unge Kunstneres Samfund (UKS), in collaboration with the directors and curators there.

For more information on the Norwegian participators, please visit Performa's website.

2013/10/28

OCA's Verksted #15: `WORD! WORD? WORD! Issa Samb and the Undecipherable Form'

OCA ANNOUNCES

WORD! WORD? WORD! Issa Samb and the Undecipherable Form

An anthology published by

Office for Contemporary Art Norway and
Sternberg Press, in cooperation with Raw Material Company

Edited by Koyo Kouoh

www.oca.no

The Office for Contemporary Art Norway announces the publication of the anthology WORD! WORD? WORD! Issa Samb and the Undecipherable Form in October 2013. The publication is a comprehensive monograph on the work of seminal Senegalese artist Issa Samb, aka Joe Ouakam.

The book collects, for the first time within a single publication, emblematic works made by the artist over the past twenty-five years. These include paintings, drawings, sculptures, assemblages and installations as well as essays, plays, sketches, notes and poems. The publication contains critical essays by independent curator and novelist Simon Njami and art historian Sylvette Maurin, as well as a conversation between the artist and the publication’s editor Koyo Kouoh, to cover a span of five decades of artistic practice and engagement.

According to Koyo Kouoh, WORD! WORD? WORD! Issa Samb and the Undecipherable Form ‘is of the utmost importance in the history of contemporary art in Africa, being the first monograph dedicated to Samb’s individual work. His contribution to the Laboratoire Agit’Art and his independent artistic practice, removed from national and nationalist conventions, remains nevertheless largely underestimated’. ‘Samb’s radical aesthetics and multifaceted approach including assemblage, installation, sculpture, performance, poetry, art criticism, painting and theatre makes for a galactic body of work combining forms of expression of the African artistic traditions with direct political action’.

The anthology WORD! WORD? WORD! Issa Samb and the Undecipherable Form also aims to bring to light Issa Samb’s work as an author and to make available to an English-language context a collection of his writings, which constitute a central part of his overall production. Poto-Poto Blues, a collection of poems and The Locusts, a play, among many other texts, are translated into English for the first time, appearing alongside a selection of previously unpublished manuscripts.

WORD! WORD? WORD! Issa Samb and the Undecipherable Form is a publication of the ongoing Office for Con­temporary Art Norway’s Verksted series.

The anthology follows 'WORD! WORD? WORD! Issa Samb and the Undecipherable Form’, the first solo exhibition in Europe by Issa Samb, organised and presented at OCA from 4 May to 23 June 2013 and on view at Raw Material Company in Dakar from 29 October 2013 to 4 January 2014.

The book and exhibition are made possible by O3-funds as designated to OCA by the Norwegian Ministry of Foreign Affairs.

ABOUT ISSA SAMB
Issa Samb was born in 1945 in Senegal and lives in Dakar. In 1974 he founded, together with a group of artists, writers, film-makers, performance artists and musicians, the Laboratoire Agit’Art, whose aim was to transform the nature of artistic practice from a formalist, object-bound sensibility to practices based on experimentation and agitation, process rather than product, ephemerality rather than permanence. With a focus on the contingent character of actions, the Laboratoire was informed by a critique of institutional power. Samb also co-founded the Gallery TENQ – Village des Arts in Dakar. He is the author of numerous plays, poems and essays. A retrospective of his work was held at the National Art Gallery, Dakar in 2010. His work has been included in exhibitions such as dOCUMENTA (13), Kassel, Germany (2012), the Biennale de l’Art Africain Contemporain, Dak’Art, Dakar (2008) and ‘Seven Stories of Modern Art in Africa’, Whitechapel Gallery, London, UK (1995).

ABOUT THE EDITOR
Koyo Kouoh is an exhibition maker and cultural producer working within the realms of building art institutions and artistic mediation. She is the founder and artistic director of Raw Material Company, a center for art, knowledge and society in Dakar, Senegal. Besides a sustained theoretical and exhibition programme at Raw Material Company, she maintains a dynamic international curatorial activity. Her discoursive programmes, exhibitions and publications have included contemporary artists, thinkers, photographers, writers, activists, non-artists, designers, collectors, politicians, architects, curators and chefs. Kouoh has served as curatorial advisor for dOCUMENTA (13) (Kassel, 2012) and documenta 12 (Kassel, 2007). Her most recent projects include Condition Report on Building Art Institutions in Africa (Hatje Cantz, 2013), 'Hollandaise: A journey into an iconic fabric’, Stedelijk Museum Bureau Amsterdam and Raw Material Company (2013), ‘Chronicle of a Revolt: Photographs of a Season of Protest’, Raw Material Company and Haus der Kulturen der Welt (Berlin, 2012).

ABOUT OCA’s O3–FUNDS
The book WORD! WORD? WORD! Issa Samb and the Undecipherable Form is supported by O3–funds as underwritten by the Norwegian Ministry of Foreign Affairs for enhancing collaboration in the contemporary art field with art professionals in countries designated by the MFA. The purpose of the O3–funds as allocated to OCA is to contribute to the development of the work of artists, independent cultural producers and organisations located in designated countries. This includes but is not limited to 'professional research visits by cultural producers, artists, and curators', 'short-term residencies for cultural producers and artists', 'seminars, conferences, art projects, workshops that focus on the further development of professional exchange and networking between and among countries', and 'project development on an international scale'.

2013/10/25

`Photography and Fashion in Mali', A Lecture by Manthia Diawara

Photo by Malick Sidibé

OCA WELCOMES

Manthia Diawara
Photography and Fashion in Mali

As the third lecture in the series
‘Fashion: the Fall of an Industry’

Thursday, 31 October 2013 at 7pm

Office for Contemporary Art Norway
Nedre gate 7
0551 Oslo, Norway

www.oca.no l info@oca.no

OCA welcomes Professor and Director of the Institute of Afro–American Studies Programme at New York University (NYU) Manthia Diawara on Thursday, 31 October 2013 at 7pm with a lecture titled Photography and Fashion in Mali.

Diawara’s lecture will look at the changing attitudes in Mali toward politics and fashion through the photography of Seydou Keita, Malick Sidibé, Mamadou Mbaye and Dahirou Traore. Surveying Malian photography from the 1950s to the present – with special emphasis on Sidibé – Diawara will discuss the relations and tensions between local designers – Chris Seydou and Lamine Kouyate – and dominant Western imports.

ABOUT THE SPEAKER
Manthia Diawara is a writer, filmmaker, cultural theorist and a professor of comparative literature at New York University (NYU), New York, NY, USA. He is Director of NYUs Institute of Afro-American Affairs and Director of the Africana Studies Programme, which promotes an interdisciplinary approach to the study of black culture, literature and politics. A native of Mali, Diawara was educated in France, later travelling to the United States for his university studies. He has taught at the University of California and at Santa Barbara, CA, and the University of Pennsylvania, Philadelphia, PA. He is the author of We Wont Budge: An African Exile in the World (2003), In Search of Africa (1998), Black-American Cinema: Aesthetics and Spectatorship (1993) and African Cinema: Politics and Culture (1992). He has published widely on the topic of film and literature of the Black Diaspora. Diawara also collaborated with Ngûgî wa Thiong'o on themaking of the documentary Sembene Ousmane: The Making of the African Cinema, as well as directing the German-produced documentary Rouch in Reverse.

ABOUT THE PROGRAMME 

The lecture by Manthia Diawara is part of the programme 'Fashion: the Fall of an Industry’, a series of lectures analysing the period of the 1970s in Norway, which saw a decline of employment in the textile industry. Through the interplay of garments, textile-production techniques and weaving processes, artists such as Brit Fuglevaag, Elisabeth Haarr and Sidsel Paaske found expression in a worldwide wave of labour militancy, developing techniques and practices fuelled by a strong sense of political entitlement.

The programme will provide a historical view upon how local policies shaped different reactions in different countries and upon the alignment of global patterns of concerns.

Upcoming lecture in the series: 

Thursday, 7 November, 7pm 

On Textile Structures
Rike Frank

For more information, please contact OCA's Information and Web Manager Petter Dotterud Anthun.

Refreshments will be served.

'Fashion: the Fall of an Industry' is organised in cooperation with the Oslo National Academy of the Arts (KHiO), Visual Arts Department (Kunstfag). The closing event of the programme is organised in collaboration with nyMusikk, Oslo.

2013/10/23

Upcoming Deadline for International Support and International Residencies Programmes: 1 November 2013

Marit Roland, Paper Drawing #5, 2013. Courtesy of the artist

OCA Announces

Call for Applications for

INTERNATIONAL SUPPORT

INTERNATIONAL RESIDENCIES:
Artist–in–Residency Programme at Fondazione Bevilacqua La Masa, Venice, Italy
Platform China Residency Programme, Beijing, The People's Republic of China
WIELS Residency Programme, Brussels, Belgium

Deadline: 1 November 2013

www.oca.no/grants

INTERNATIONAL SUPPORT
OCA is currently accepting applications for the 2013 Fourth Quarter Application Review for International Support. Forms are due on 1 November 2013.

Applications are accepted from Norwegian artists, international artists residing in Norway and non-profit arts organisations. Priority is given to exhibitions taking place in key international art institutions and project spaces. Support is also extended to solo exhibitions and group exhibitions initiated by international curators as well as to Norwegian art professionals organising exhibitions and projects abroad.

The objective for support is to foster the professional consideration and exhibition of Norwegian art abroad, innovative artistic production and a creative process of dialogue and collaboration within the spectrum of contemporary cultural practice. OCA's International Support aims to enable international institutions and international curators to work more comprehensively and thoroughly with individual artists, art groups and professionals to convey the critical initiatives behind their production. OCA also finds it important to provide artists, art professionals, curators and cultural producers the possibility to network professionally within the international arts community. OCA also stimulates research, programme development and initiatives that further invigorate the interest in contemporary art production taking place within Norway and by Norwegian artists working abroad.



The funding for International Support is provided by the Norwegian Ministry of Foreign Affairs and the allocation is decided upon by an independent jury of Norwegian and international art professionals designated by OCA.

INTERNATIONAL RESIDENCIES
OCA provides International Residencies for Norwegian artists, curators and critics in a number of international venues. The upcoming 1 November 2013 deadline applies to the Artist–in–Residency Programme at Fondazione Bevilacqua La Masa, Venice, Italy, Platform China Residency Programme, Beijing, The People's Republic of China and WIELS Residency Programme, Brussels, Belgium. The Artist–in–Residency Prgogramme at Fondazione Bevilacqua La Masa and the WIELS Residency Programme are especially designed for artists who have already elaborated a specific and promising aesthetic language but seek artistic, theoretical and professional support in order to develop their practice. The applications are assessed by an International Jury appointed by OCA. Applicants for the WIELS Residency Programme will also be considered by a representative from WIELS Contemporary Art Centre. Please notice that the residencies are not available for BA or MA students.

Fondazione Bevilacqua La Masa
OCA offers a residency programme for an artist at Fondazione Bevilacqua La Masa, Venice, Italy. The residency is three months, from 15 February to 15 May 2014. Applications are accepted from Norwegian artists and international artists residing in Norway.

Platform China
In collaboration with the Norwegian Embassy in Beijing, China, OCA offers two studio residencies, for an artist or a curator at Platform China Beijing Residency Programme. The first one from 1 April until 31 May 2014 and the second from 1 September until 31 October 2014.

WIELS
OCA offers a residency programme for an artist, at WIELS Contemporary Art Centre in Brussels, Belgium. The duration of the programme is nine months, from 1 April until 31 December 2014. Applications are accepted from Norwegian artists and international artists residing in Norway.

For detailed information about the application process please visit OCA's website. If you have any further questions, please do not hesitate to contact Anne Charlotte Hauen.

ABOUT THE OFFICE FOR CONTEMPORARY ART NORWAY
The Office for Contemporary Art Norway is a foundation created by The Norwegian Ministry of Culture and The Norwegian Ministry of Foreign Affairs in autumn 2001. The main aim of the Office for Contemporary Art Norway is to develop collaborations in contemporary art between Norway and the international art scene. The Office for Contemporary Art Norway aims to become a key contributor to discourses on contemporary art.

2013/10/21

`94 Years Later: Putting the Bauhaus into Perspective. On Art & Design, Identity & Gender', A Lecture by Anja Baumhoff

Gunta Stöltzl's Bauhaus Dessau Identity Card, 1928.

OCA WELCOMES

Anja Baumhoff
94 Years Later: Putting the Bauhaus into Perspective. On Art & Design, Identity & Gender 
 


As the second lecture in the series
'Fashion: the Fall of an Industry’

Thursday, 24 October, 7pm

Office for Contemporary Art Norway
Nedre Gate 7 

0551 Oslo
Norway

www.oca.no l info@oca.no

OCA welcomes Professor and Author Anja Baumhoff on Thursday, 24 October at 7pm, with a lecture dedicated to the main ideas of the Bauhaus.

Founded in 1919 in Weimar, Germany, the Bauhaus set out to unite arts and crafts with fine art, propagating the concept of 'design’ or Gestaltung and thus aiming to reform post WWI German society through the notion of 'the total work of art' (Gesamtkunstwerk). Retrospectively it may be considered one of the strongest promoters of modern design and architecture since the 1920s. The Bauhaus also boasted a socially progressive programme which endeavoured to treat men and women equally.

'What became of this hopeful start and what difficulties did the school encounter? And what might we learn for this experiment today?’

The first part of the lecture will give an overview of the history and the ideas of the Bauhaus, while the second part will carry out a micro-historical study of some of the key Bauhaus students with a view to the issues of craft, gender and art in the workshop context.

ABOUT THE PROGRAMME
The lecture by Anja Baumhoff is part of the programme 'Fashion: the Fall of an Industry’, a series of lectures analysing the period of the 1970s in Norway, which saw a decline of employment in the textile industry. Through the interplay of garments, textile-production techniques and weaving processes, artists such as Brit Fuglevaag, Elisabeth Haarr and Sidsel Paaske found expression in a worldwide wave of labour militancy, developing techniques and practices fuelled by a strong sense of political entitlement.

The programme will provide a historical view upon how local policies shaped different reactions in different countries and upon the alignment of global patterns of concerns.

ABOUT THE SPEAKER
Anja Baumhoff is a Lecturer in History of Art and Design at Loughborough University, England. She was awarded a Ph.D. in Social History from the Johns Hopkins University in Baltimore, MD, USA and an MA in German Literature, Politics and Anthropology from Freiburg University, Germany. Before joining the faculty at Loughborough University, she taught at the Universities of Berlin, Weimar, Wuppertal, Zürich and Essen. She has served on the editorial board of the historic feminist art journal Frauen / Kunst / Wissenschaft, published by Jonas in Marburg, Germany. She is a member of the Studienstiftung des deutschen Volkes, the Heinrich Boell Stiftung and has received grants from the Fulbright Commission, the Frauenfoerderkommission des Berliner Senats, the DAAD, the Robert Bosch Foundation and the AHRC. Her publications include The Gendered World of the Bauhaus. The Politics of Power at the Weimar Republic’s Premier Art Institute, 1919-1932 (Peter Lang, 2001) and together with Magdalena Droste Mythos Bauhaus. Zwischen Selbsterfindung und Enthistorisierung (Reimer, 2009).

Upcoming lecture in the series:
Thursday, 31 October, 7pm
Photography and Fashion in Mali
Manthia Diawara

For more information, please contact OCA's Information and Web Manager Petter Dotterud Anthun.

Refreshments will be served.

'Fashion: the Fall of an Industry' is organised in cooperation with the Oslo National Academy of the Arts (KHiO), Visual Arts Department (Kunstfag). The closing event of the programme is organised in collaboration with nyMusikk, Oslo.

2013/10/16

New International Residency Opportunity in Venice, Italy

Ateliers at the Cloister of SS Cosma and Damiano, Giudecca, Venice

OCA ANNOUNCES

An Open Call for Applications for

a New International Artist-in-Residency Programme at
Fondazione Bevilacqua La Masa, Venice, Italy

Application Deadline: 1 November 2013

OCA launches an open call for applications for a three-month studio residency from 15 February through 15 May 2014 at the International Artists-in-Residency Programme at Fondazione Bevilacqua La Masa (BLM) in Venice, Italy. The city of Venice offers a vibrant contemporary art scene in venerable antique surroundings, with key institutions working with education, exhibitions and screenings of contemporary motives and themes on the entire territory.

Applications are accepted from young emerging Norwegian artists and international artists residing in Norway. The programme is designed for artists who have already elaborated a specific and promising aesthetic language but seek artistic, theoretical and professional support in order to develop their practice.

Fondazione Bevilacqua La Masa will assist the artist in experiencing the cultural life of Venice and introduce him/her to the Venice arts’ community. The foundation will include the artist for the overall studio visits programme scheduled for the artists’ studio programme and organise additional visits organised in accordance with the singular artist’s residency period and/or the specific topic that the artist wishes to explore during the residency period. The artist will also benefit from the programmes and activities as organised by the foundation in its premises.

The artist is provided with an independent living space on the top-floor of Palazzo Carminati, with shared kitchen and dining area with other artists in residence.

The artist is also provided with a working studio at the Cloister of SS Cosma e Damiano in Giudecca. The studio space is also equipped with a kitchen shared with the other artists using the ateliers.

At the end of the residency period the artist will be offered a project room to exhibit the artworks carried out during the stay in Venice in a close dialogue with Fondazione Bevilacqua La Masaʼs staff. This final event will take place in one of the premises of the foundation.

Please note that the programme is not open to current art students. Applications will be assessed by an International Jury appointed by OCA.

ABOUT FONDAZIONE BEVILACQUA LA MASA
With several venues spreading throughout the entire city of Venice, Fondazione Bevilacqua La Masa is a leading institution for contemporary art that supports young emerging artists through grants, exhitibions and residency programmes and organises exhibitions with key international contemporary artists. Fondazione Bevilacqua la Masa was founded over a century ago with an aim committed to enhance the visibility of young emerging artists. At the end of her life, largely spent in support of the newly-united Italian people, Felicita Bevilacqua (1822-1899), widow to General Giuseppe La Masa, decided to bequeath the Ca' Pesaro palace to the City of Venice, on condition that it would be used to favor 'young artists who are often denied access to prominent exhibitions'.
 Over the past decade, 1.200 artists displayed their work at the BLM. 218 exhibitions were hosted and over fifty catalogues and hundreds of posters, invitations and brochures were printed.

OCA will accept applications through the web-portal stikk.no from 22 October 2013.

For more information please click here.

2013/10/11

`In the Shadow of the Beat Generation: Norwegian Textile Art Crossing Borders 1960–1980', A Lecture by Jorunn Haakestad

Sidsel Paaske, 10 years before 'Blue Letter' (10 år før "Blue Letter"), 1969.

Norsk versjon

OCA WELCOMES
the opening of
'Fashion: the Fall of an Industry'

with the lecture by art historian
Jorunn Haakestad

In the Shadow of the Beat Generation: Norwegian Textile Art Crossing Borders 1960–1980

Thursday, 17 October 2013, 7pm

Office for Contemporary Art Norway
Nedre Gate 7
0551 Oslo, Norway
www.oca.no l info@oca.no

OCA welcomes next week the art historian and Head of Research at Bergen's KODE Jorunn Haakestad to open the lecture series 'Fashion: the Fall of an Industry’, an analysis of textiles and interrelated policies affecting the Norwegian art context of the 1970s.

Haakestad will argue how the field of printed textile and textile art, within the arts and crafts movement of Norway, crossed several institutional borders in the period between 1960–1980. The lecture will emphasise the post-war changes in the mindset of the civil and intellectual worlds, and will outline these changes within arts circles.

'We might trace a sense of beat culture in the avant-garde circles of Bergen at the beginning of the 1960s and 1970s, as well as in fringes of the textile art in Oslo in that period of time'. With this as a background, the lecture will open up to the new approaches characteristic of the beat generation and ask: in what way the beat trend had an impact on the development of textile art in Norway – or more specifically ­– on the field of printed textile art in such a period of quest for change?

ABOUT THE PROGRAMME
‘Fashion: the Fall of an Industry’ is a programme of lectures analysing the period of the 1970s in Norway, which saw a decline of employment in the textile industry. Through the interplay of garments, textile-production techniques and weaving processes, artists such as Brit Fuglevaag, Elisabeth Haarr and Sidsel Paaske found expression in a worldwide wave of labour militancy, developing techniques and practices fuelled by a strong sense of political entitlement.

The programme will provide a historical view upon how local policies shaped different reactions in different countries and upon the alignment of global patterns of concerns.

ABOUT THE SPEAKER
Jorunn Haakestad holds a PhD in art history from the University of Bergen, Norway. She served as a Director of the West Norway Museum of Decorative Art during the period 1997–2007 and as Deputy Director in the consolidated KODE – the Art Museums of Bergen, until 2012, where she currently works as Head of Research. She has engaged extensively in education as a teacher, cultural mediator and as a cultural heritage consultant, and her academic articles and essays appeared in numerous catalogues. Her latest edited book Gifts (2012) has been published on the occasion of the 125th Anniversary of the West Norway Museum of Decorative Art.

Upcoming lecture in the series:
Thursday, 24 October, 7pm
94 Years Later: Putting the Bauhaus into Perspective. On Art & Design, Identity & Gender
Anja Baumhoff

For more information, please contact OCA's Information and Web Manager Petter Dotterud Anthun.

Refreshments will be served.

'Fashion: the Fall of an Industry' is organised in cooperation with the Oslo National Academy of the Arts (KHiO), Visual Arts Department (Kunstfag). The closing event of the programme is organised in collaboration with nyMusikk, Oslo.

2013/10/04

Screening of Film: `Edvard Munch' (1973) by Director Peter Watkins

Film still from Edvard Munch (1973)
(dir. Peter Watkins)

Norsk versjon

OCA ANNOUNCES

Screening of the Film:
Edvard Munch (1973)
Directed by Peter Watkins

Teatro Malibran
Campiello del Teatro
Cannaregio 5873, 30131, Venice

13 October 2013, 3pm
Doors open at 2:30

Free Entrance

www.oca.no
www.bevilacqualamasa.it

OCA and Fondazione Bevilacqua La Masa in Venice, in cooperation and with the kind support of Teatro La Fenice in Venice, announce the screening of Edvard Munch (1973) directed by Peter Watkins, on Sunday, 13 October 2013 in the arena of Teatro Malibran at 3pm.

Edvard Munch is considered by Peter Watkins as his most 'personal' film. The director dramatises three decades of the life of the artist, vexing the film in the form of a docudrama that conveys Munchʼs subjective vision about the unfolding of tragic events that relates to his family, his troubled sexual relationships, and the opposition he faced from the conservative forces in Christiania (Oslo) as a result of his engagement with its bohemian circle in the mid-1880s. The film enfolds this biography within a retelling of the social and historical reality of the time to reflect upon how this landscape influenced the development of Munch as a painter.

Edvard Munch is one of Watkins' many films whereby the filmmaker analyses and challenges – it is now over four decades – the widely accepted escalation of the standardised pictorial and narrative form of Hollywood within all forms of contemporary audiovisual communication, including modern internet technology. 'The artist Edvard Munch is often referred to as a "modern" artist, but – Watkins asks – how are we to define "modernism" in the broadest sense, in a world that idolises manipulative audiovisual forms which encourage mass consumerism, political passivity, and escalating environmental disaster?'

For press inquiries and to obtain press images, please contact Petter Dotterud Anthun, OCAʼs Information and Web Manager. For Italian press, please contact Giorgia Gallina at Fondazione Bevilacqua La Masaʼs press office.

The screening of Peter Watkins' Edvard Munch follows the exhibition ʻBeware of the Holy Whoreʼ, a project organised by the Office for Contemporary Art Norway in cooperation and with the generous support of Fondazione Bevilacqua La Masa in Venice, as the official Norwegian representation at the 55th International Art Exhibition, la Biennale di Venezia in 2013. Additional support is provided by Fritt Ord – the Freedom of Expression Foundation, Oslo.

About Peter Watkins
Peter Watkins (b.1935 in Norbiton, Surrey, UK) is a film-maker and author. He has directed several landmark films since the 1950s, such as The War Game (1965), Punishment Park (1970), The Freethinker (1992–94) and La Commune (de Paris, 1871) (1999) – films that investigate the current political conjuncture through contemporary or historical settings, and that critically address the limits and possibilities of the documentary form. Central to his work is the critical assessment of the mass media, the media crisis and the monoform, as reflected, for example, in his book Media Crisis (2004).