Peter Freund
Saint Mary's College of California, Art and Art History, Faculty Member
- University of Barcelona, Fine Arts, Department MemberUniversity of Barcelona, Department of Visual Arts and Design, Department Memberadd
- Artist, writer, curator based in Barcelona, Spain.edit
Editor and contributor Filipe Martin's introduction to the book, Aesthetic Authenticity in Cinema, in which Peter Freund contributes a chapter.
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This essay considers the function of pretense in the politics of performative camp as it is treated in Peter Freund's short film «Camp».
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This essay considers the question of «authenticity» posed in Peter Freund's short film «Is Paris Burning?» which presents documentation of a macabre tourist attraction at the Tuol Sleng Genocide Museum in Cambodia and mass graves known as... more
This essay considers the question of «authenticity» posed in Peter Freund's short film «Is Paris Burning?» which presents documentation of a macabre tourist attraction at the Tuol Sleng Genocide Museum in Cambodia and mass graves known as the «Killing Fields».
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Two dialogues with actor/theatre director Nasser Rahmaninejad on playing the part of Mohammed Mossadegh in Peter Freund's «Erased Mossadegh» and on translating (into Farsi) the latter's poetic text «Acorus Calamus» for «Iran|Usa» exhibit.
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A dialogue between anthropologist, film scholar/curator Targol Mesbah and artist Peter Freund on «Iran|Usa» exhibition. Discusses the idea of conceptual metabolism in appropriation art and other topics.
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A dialogue between art history and film scholar Hossein Khosrowjah and artist Peter Freund on the «Iran|Usa» exhibit.
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A transcript of dialogue with audience at Sazmanab Center for Contemporary Art (2015) about initial exhibition of «Iran|Usa» in Tehran, Iran.
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An imaginary dialogue with historical figures on the exhibition «Iran|Usa».
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A fictive recipe for a political cocktail.
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An introduction to Peter Freund's «Iran|Usa» exhibition written by Gelare Khoshgozaran, followed by an interview with the artist.
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Summaries, details, and reproductions of works presented in 2017 art exhibition «Iran|Usa» (Peter Freund)
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An excerpt (front matter) from 2017 art exhibition «Iran|Usa» (Peter Freund). Foreword by Hossein Khosrowjah. Dedication page and sample materials.
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Three artistic researchers describe their ongoing projects that deploy «conceptual machines» in order to rethink the stakes and productive possibilities of the image-word problem.
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Introduction to artist booklet for 4Bar4, new paintings by Barcelona-based artist Werner Thöni.
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«Art, or the Perverse Ethics of the Lapse» sketches an analogy between artistic and psychoanalytic practices based on the “little trauma” or lapse in enjoyment through which both practices endeavor to activate the radical contingency of... more
«Art, or the Perverse Ethics of the Lapse» sketches an analogy between artistic and psychoanalytic practices based on the “little trauma” or lapse in enjoyment through which both practices endeavor to activate the radical contingency of subjectivity. The text draws on the Lacanian «four discourses» to shorthand the structural overlap between these two practices. In this context, the author discusses his film short «Camp» (2011) which juxtaposes the figure of the concentration camp and campy aesthetics in an investigation of the essential role of fantasy in traumatic historical memory and the ethical root of flamboyant enjoyment. Finally, the chapter concludes with the transcript of a discussion from the «Trauma Desire Otherness» symposium held at the Hong Kong University in 2012, where a version of the paper and the film were presented.
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The essay focuses on Samuel Beckett's only two screen dramas and the way in which they problematize their own media specificities. Much of the formal analysis holds valid for the author today; however, he feels certain premises and... more
The essay focuses on Samuel Beckett's only two screen dramas and the way in which they problematize their own media specificities. Much of the formal analysis holds valid for the author today; however, he feels certain premises and conclusions are worthy of critical scrutiny.
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An interview with artist Peter Freund, primarily focused on his film short «Camp» (2011).
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Book Review of Kristi M. Wilson and Tomás F. Crowder-Taraborrelli (eds.), Film and Genocide. Madison: University of Wisconsin Press, 2012.
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Found Footage Magazine is an independent and printed film journal distributed worldwide. It offers theoretical, analytical and informative content that hinges on the use of archival images in media production practices. FFM fills the void... more
Found Footage Magazine is an independent and printed film journal distributed worldwide. It offers theoretical, analytical and informative content that hinges on the use of archival images in media production practices. FFM fills the void created by the fact that there has not been, up to this time, any forum for the collection and dissemination of information, critical thinking, and discussion of found footage cinema including all its manifestations: recycled cinema, essay film, collage film, compilation film, archival cinema, mash-up…
Contributors Special Issue #7: Ernesto Baca, Alejandro Bachmann, Frank Beauvais, Matthew Cole Levine, Paul Cronin, Anna Doyle, Lola Dupre, Clint Enns, Peter Freund, Peet Gelderblom, Christoph Girardet, Audrey Jeamart, Scott MacDonald, Pablo Marín, Jean-Jacques Martinod, Stefano Miraglia, Matthias Müller, Bill Noir, Jonathan Rosenbaum, Catherine Russell, Nazaré Soares, Miriam Tölke, César Ustarroz, Monique Vettraino, Joshua Wille, and The Estate of John Baldessari.
Contributors Special Issue #7: Ernesto Baca, Alejandro Bachmann, Frank Beauvais, Matthew Cole Levine, Paul Cronin, Anna Doyle, Lola Dupre, Clint Enns, Peter Freund, Peet Gelderblom, Christoph Girardet, Audrey Jeamart, Scott MacDonald, Pablo Marín, Jean-Jacques Martinod, Stefano Miraglia, Matthias Müller, Bill Noir, Jonathan Rosenbaum, Catherine Russell, Nazaré Soares, Miriam Tölke, César Ustarroz, Monique Vettraino, Joshua Wille, and The Estate of John Baldessari.