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Rosalind Nashashibi
Nashashibi's development from Three (1999) to Open Day (2001) is an important move away from a post-modern quotation towards an experiential engagement with the everyday.

It has its roots in her earliest experiments with film at Sheffield Hallam University, where she began to incorporate found footage from the mainstream news with her own panoramic shots of the rooftops of Sheffield; the result was an erasure of difference between the ready-made and the 'original'. This ease of movement between quoted and created visions of the world was to be developed further in Open Day but initially took on a different form in Three (1999). Shot on video in an empty parking lot in Los Angeles it reveals her sensibility as a painter. A scene in Fassbinder's Effi Briest (1974) is restaged in a sequence of shots from different angles that become a series of poses and gestures, carefully edited and placed into repetition with each other leaving the viewer with a choreography of temporality experienced as the repetition of a single moment. Open Day (2001) is the result of a more intuitive process of filmmaking, the viewer sees commuters on trains, people rock climbing in a leisure centre, waiting for a performance at the Barbican, or busy behind computer terminals in the offices of a successful dot.com company. The title references those occasions when private spaces or public institutions allow visitors to see behind the scenes. The camera angles of the exterior of buildings and glimpses of interior shots in which corners of rooms come into view; or the oval structures of the interior of a tube train, all of these in different ways reference paintings like Francis Bacon's angular saturated interiors or mass observation documentaries of the 1930s. Representation emerges as the sudden shock of recognition within the flickering pulsating fabric of the film's surface of the already seen and known. With its insertion of the past, into the structure of time unfolding now in the present Open Day becomes characteristic of her signature style. Here found music expands the rhythm of everyday gestures but changes in later films to develop a rhythm of sound with considerable originality and sophistication.

Still from Open Day by Rosalind Nashashibi, 2001
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