Despite humans’ big brains and seemingly infinite storage space, when we think back to an old memory it’s usually not hi-res video we conjure up but rather a still image, fuzzy around the edges and hard to keep in place.
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Though Rotterdam plays host to weighty institutions, many local artists indicate that they nonetheless go abut their work much as artists do in cities that don’t boast such a rich cultural infrastructure.
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Throughout a series whose scope almost recalls The Beatles’ White Album, in which every song sounds different than the one before, we witness Barrada’s hand at nature photography, photojournalism, painterly landscapes, and more.
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The mix of high production values and macabre undertones catapult his works from throwaway one-liners into more nuanced examinations of irony and solitude.
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These glossy lacquers are only superficially superficial: by insouciantly sidestepping all things dour, they transcend their local origins and speak directly to an increasingly homogenized global youth culture.
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Museums, libraries, and old banks are all freighted with tainted history, hosting cultural heirlooms of sometimes questionable provenance.
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After so many tales of posed famine victims, scripted reality TV and staged military rescues, disbelief of visual representation has become a reflex.
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Starfish, it was once thought, led a largely static and plant-like existence. Yet the advent of time-lapse photography in the 1950s unveiled their secret world: a rich, slow-motion society replete with many of the curious behaviors common to the rest of the biosphere.
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