by structuralist filmmakers as they manually modified film stock and projection technologies to produce flickers, color saturation, and other kinds of visual disturbances. Very significantly, Lazard introduces a strobe warning into the work, alerting visitors to the visual noise of the installation which might have detrimental effects on some. Warnings about flickers and flashing lights were included in a number of experimental films of the 1960s and ’70s but there was no shared vocabulary or screening protocol that systematically alerted viewers to the potential triggers therein. Lazard’s thinking around access and influence involves an underscoring of the visual tropes of experimental moving- image practice and their impact on the body. Weerasethakul also channels the legacy of experimental film towards a meditation on landscape, ecology, and temporality. In For Bruce (2022), dedicated to the filmmaker Bruce Baillie (1931–2020), Weerasethakul uses slowness, gentle natural sounds (running water, insects), and the flash and flicker of light reflecting off water and shining through trees to offer a queer reorientation of spectatorial sensibilities and transgenerational dialogue. Homage: Queer lineages on video reflects on the ability of film and video to disrupt processes of both memorialization and erasure, foregrounding instead the multivalent meanings and affective charge created by resonant com- binations of image, sound, and text. Departing from the preoccupation with visibility and publicness across politics of identity and representation, these works demonstrate the potential of anachronistic gestures, formal affinities, and archival adjacencies in reframing relationships between artists and their chosen ancestors.
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