Amina Cain read from her newly released book Creature, a collection of stories exploring the territories of pleasure/suffering as landscape/house, with characters who seem to share a single heartbeat. As writer Pamela Lu describes, “To be among Amina Cain’s creatures is to stand in the presence of what is mysterious, expansive, and alive.”
Laida Lertxundi showed her most recent films: The Room Called Heaven and Utskor: Either/ Or. “Rather than using emotion to drive a narrative as in a conventional melodrama, Lertxundi treats feeling as a material, a color or tone that can be broken down, pulled apart, and recombined with other cinematic elements such as rhythm, light, and sound . . . emotion is loosed in Lertxundi’s films and it suffuses the environs like the Los Angeles smog: enigmatic, undirected, and capable of intensifying the late-day light with brilliant hues.” (Genevieve Yue, Film Quarterly)
Amina Cain is the author of two collections of stories that revolve quietly around closeness/distance, pleasure/suffering, and emptiness/landscape: Creature (Dorothy, a publishing project, 2013) and I Go To Some Hollow (Les Figues Press, 2009). Work has appeared in BOMB, n+1, Denver Quarterly, The Paris Review Daily, Two Serious Ladies, and other places.
Laida Lertxundi makes films with non-actors, landscapes and sounds. Her work was the focus of a solo exhibition at Marta Cervera Contemporary, Madrid in 2013. Lertxundi’s films have been exhibited at the 2013 Lyon Biennale, 2013 LIAF Biennial, 2012 Whitney Biennial, New York; MoMA, New York; LACMA, Los Angeles; the Viennale, Vienna; Views from the Avant Garde at the New York Film Festival, and the Rotterdam International Film Festival among other spaces.