tag:blogger.com,1999:blog-19151341.post7979078512025817157..comments2024-03-16T16:12:13.296+00:00Comments on some LANDSCAPES: The location of a Great MaladyPliniushttp://www.blogger.com/profile/06529481330530614513noreply@blogger.comBlogger1125tag:blogger.com,1999:blog-19151341.post-3551163081274751682012-04-01T08:22:02.730+01:002012-04-01T08:22:02.730+01:00More reviews are appearing over the weekend, and t...More reviews are appearing over the weekend, and the <i>Guardian's</i> <a href="http://www.guardian.co.uk/artanddesign/2012/mar/30/patrick-keiller-robinson-tate-exhibition" rel="nofollow">article</a> by <a href="http://nastybrutalistandshort.blogspot.co.uk/" rel="nofollow">Owen Hatherley</a> is well worth reading.<br /><br />He says: 'Keiller is not to be compared to Iain Sinclair, WG Sebald or Will Self. His work since 1997 is far closer to Humphrey Jennings's montage of annotated industrial images <i>Pandaemonium</i>, or even Walter Benjamin's <i>Arcades Project</i>, a counter-history of the 19th century told via fragments on Parisian shopping arcades. Like these, Keiller's work is a collision of historical materialism, modernism and surrealism, politically militant and aesthetically defamiliarising.' <br /><br />I can see what he means, but it does feel as if Robinson is getting more Sebaldian with each film. We are told in <i>Robinson Ruins</i> that he arrived in England from Berlin in 1966, the same year Sebald left Germany to come to Manchester.Pliniushttps://www.blogger.com/profile/06529481330530614513noreply@blogger.com