Upstream Color: A Contemporary film Review
I wanted to end in something abstracted from the white walls and put into a theatrical situation. I have never written a film review, but this seemed to be one of the few current mainstream films that resonated with something in an interesting way. This film directly engages with the strange nature of writing, reading, and living with a book while dealing with a fragmented reality.
There is a strange distance in the beginning of the film that circle to the end. The characters in the film seem to intertwine while facing two enemies or darker controllers. I have not quite settled on the darker character the first antagonist being the carrier and initial manipulator or the second being the farmer of direct surgical detriment and secondary interference of motorization. Both mentally and physically take and alter the victims, but which remains more sinister as manipulative crimes.
The introduction to Walden was a matter that confused the individualization of the victims’ reality. The crime seemed to have been an act of self-sabotage to the victim of waking up. What really becomes alienator in the end, is it the individual mentality of the victims or farmers? Which displays more animal qualities in the end the pig or the human?
I recommend at least one viewing of the film it really deserves two in my opinion. Contextualizing the harmful bodies becomes difficult to resolve when equating the small organism that in the end becomes the true farmer.
It is an interesting movie to align with the current wave of capitalist manipulation of government. Billionaires are feeding activist movements to the public to suit their reckless agendas. The Koch Brothers are a prime example in their lobbying of political power. The cut taxes of the richest and the draining of the poorest populations that cannot voice an informed opinion as most of the corruption is sealed underneath a blanket of undisclosed agendas in public access. Private lives hold the most insidious truths behind a failing system of ruthless individuals willing to throw 99% of the population under the bus for a tax cut that isn’t about the additional money, but is rather clear it is about the power of being able to control the population.
The current role of “Gallerina”, artist, and critic in Chicago is frustrated and constipated. There is little invisibility of hostility in this art venue of Chicago. The artists continue to create and it gets handed to the “Gallerina” and the critic is unwelcome for business, because it’s just bad for business. In a struggling economy no one wants more bad news. Yet bad news is the latest gossip worth writing and reading about. We all are not so secretly paranoid about what we are consuming.
Opinions should be free. Critics should be critical, but the quality of interpretation should be directed. If an object is meant to sing its heart out for the viewer the viewer should be open and willing to do some investigating. Things are never as they appear to be. The gallery walls are meant to be unobtrusive. We want them to lose sight of scale and imagine the piece in the ideal space. But as unblemished as the walls become it will never be a neutral space. No space is neutral. Traditionally the artist makes work in a private space. Bringing the work into the public at a price feels like prostituting the makers children. They want to hold their integrity as they hold their pose on the icy stage as they sell their soul to the viewer. The gallery stage is cold and the artist is always left vulnerable and bare.
I understand the desire to want to be greeted without hostility by objects. The handler is there to hold the hand of the buyer to reassure them of their investment. If there is foul play stirred by a critic they are having second thoughts. Explain to them what they missed at opening night. Not everyone makes it on time. Everything seems to be Fifteen minutes away, but it tends to end up just another block further. An explanation for creation as we stand there so patiently for those seven seconds is so desperate. We crave the reassurance that the artist isn’t hiding an ambivalent agenda. No body wants to be taken advantage of. We want to be sure of how many calories are in each art piece. We want the cage-free, pesticide free, and hormone free organic work stamped on it before we sign on the bottom line.
The gallery system is old buildings with flat white walls. Chicago is a new building with old pipes. It is quite clear that when it rains Chicago doesn’t lift its skirt and wave in a free ride. Chicago opens up and swallows its habitants. The format of constructive critique relies on the potential for improvement. How can we represent art if it’s passing through corroded pipes? We all have witnessed what happens when pipes kink this city starts to sink. The runoff and sewage passes through the same pipe into our summer water. Don’t look up the plumber, or the insurance company find the social worker and engineers.