Once in a while we post news about arts other than those that are spatial. This is one of those times. Local writer and activist Cate Cabot, sponsor to visiting filmmaker Malachi Rempen, wrote the following piece on Rempen’s work; he will make an appearance and present selected films at the Jackson Hole Community School on December 1. Rempen will speak at 11:30 am, and again at 5:30 pm.
“Malachi Rempen is a young up and coming talent in the film world. In 2009 he took 1st in the shorts film division at the Santa Fe Film Festival after racking up an impressive series of awards with his thesis film, “La Nina del Desierto” which claimed Best Picture, Best Director and Best Cinematography at Chapman University’s 2009 awards ceremony for the Dodge College of Film. “La Nina del Desierto” went on to receive a Student Emmy in the spring of 2010 and in June of 2010 the film received 1st in the film shorts division at the Reno Film Festival.
Born in Switzerland, Malachi Rempen moved with his family to Albuquerque, New Mexico when he was a baby. There he started making movies at an early age. In high school he directed a film that claimed both 1st and 2nd place in a college festival. We are very lucky to have this talented young man visiting and teaching in our community at this early point in the arc of a most promising career. The Jackson Hole Community School will host a single showing of the award winning film, “La Nina del Desierto” on Wednesday evening, Dec. 1 at 5:30 P.M. The time will include a selection of other film shorts produced by this fine artist. Mr. Rempen will be present to discuss the inspiration of film in his life and the multi-disciplinary aspects of film production. This is free event with an open welcome to community members. Please join us for an evening that will stir the senses, engage the heart, stimulate the mind and inspire for months to come.”
Although the public is welcome to attend the 11:30 am session, Rempen will screen “La Nina del Desierto” only at 5:30 pm.
For information contact Sarah Walter at 307.733.5427, or email [email protected]
On November 26, 2010 the New York Times carried a story on a small Colorado mining community’s division over a proposed Christo installation that, if allowed, would span 42 miles of the Arkansas River in that state. The region, located in south central Colorado, has an economy based primarily on mining–although artists and tourists are beginning to discover it.
Christo’s “Running Fence,” an installation of 25 miles of connected white nylon panels, ran across California’s Sonoma and Marin Counties, terminating on the sea coast. In 2005, Christo’s “The Gates” was mounted in New York’s Central Park. The New York Times called that project a joy and a “gift” to New York City. The installation was a huge success; Christo’s flowing, fluttering installations tend to hold specators spellbound. People experience profound change in the presense of Christo’s art. The Times wrote: “People preened under the unfurled gates, watching the fabric sway. Now one no longer ambles through the park, but rather saunters below the flapping nylon. Paths have become like processionals, boulevards decked out as if with flags for a holiday. Everyone is suddenly a dignitary on parade.”
The Colorado project, “Over the River,” is to be built in ecologically sensitive territory. The land is habitat for bighorn sheep, and the installation would span almost 6 miles along Colorado’s Arkansas River. Years in the making, “Over the River” would remain up only two weeks.
That’s a lot of territorial invasion to see what will no doubt be a visually spectacular but quite temporary public art installation. Any Christo project brings tourism, money to the community, and world-wide recognition. Right now, residents of Salida, Colorado enjoy a certain peace, low rents and an abundance of natural inspiration. If “Over the River” brings torrents of change, will that change be for the long term good?
It depends on what any of us consider “good,” and the fear that many residents have, as the Times reported, that nothing will be the same again.
Good, expertly envisioned and executed public art–on any scale, but particularly a grand scale— is huge for any urban entity. Well concieved projects draw tourism and become immediately identifiable. They are logos, of sorts. But this project as described should not go forward, no matter how visually spectacular. The ratio of excavation/installation time to time up-and-visible is not, in this case, acceptable.