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Rosalind Nashashibi
Nashashibi's films convey the not-yet past as the viewer's awareness of the disappearance of time in the present.

This movement between the 'now' of time flowing before my eyes that becomes the 'not-quite then' is inspired by print culture, newspaper cuttings, posters and photographs etc. It refuses the readymade nature of experience: moments when people and places take on the appearance of so many films, photographs, paintings, poses in popular culture and high art that are now so familiar as to be part of our conceptual furniture. Like other artists who have come to prominence in the late 1990's such as Marinne Hugonnier and Pierre Huyghe, Nashashibi favours the slow pace of time unfolding as the new velocity. She shoots her films on a Bolex camera that dictates their slow pace: each shot lasts more or less twenty seconds in duration and is repeated over and over sometimes for three minutes, at other times for twelve. Some rare films like Hreash House are longer at twenty minutes, but all of them create a sense of measured rhythm and steady pace, that successively accumulate a feeling of drift and aimlessness that nurses solitude.

Still from Hreash House by Rosalind Nashashibi, 2004
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