Home' Trinidad and Tobago Guardian : August 24th 2014 Contents On an unappetising Sunday, the only
Also Rans worth mentioning are a Sam
Peckinpah Western (Major Dundee,
1.05 pm Enc3), a Clint Eastwood base-
ball thing (The Trouble with the Curve,
1.20 pm HBO) the kiddie flick and its
sequel that would have got the nod
(The Smurfs, 5.16 pm, The Smurfs 2,
7.05 pm HBOF) if today s pick didn t have its own five sequels following
it immediately after! The week holds six former picks, five very good indeed
(Veronica Guerin, 5.05 pm Monday Max, 360, 6.55 pm Tuesday, Max, *Dark
Water, 4 pm Wednesday again 5.45 pm Friday MaxW, Dead Calm 6.45 pm
Wednesday TCM, Looper, 5.55 pm Thursday HBO, and one so incredibly
bad, it becomes good again, as unintentional comedy (*Glitter, 5.45 pm
A B :
t t t n t (Robert Wise/ 1979/ USA / Adventure-
Mystery-Sci-Fi / 132 mins/ PG for sci-fi action and mild language), 1 pm
Turner Classic Movies. Watch this if you liked Dune, Close Encounters of
the Third Kind or the modern Star Trek films. Though the action sequences
and special effects are almost laughable compared with those of modern
CGA movies---and even suffer when held up against the what-now-seem-
dated Star Wars movies---the first of the original William Shatner, Leonard
Nimoy & Co films were like longer, better thought out episodes of the old
TV serial. It s cheesy and inspirational in roughly equal proportions but
the denouement of the revelation of the identity of Veeger, the mysterious,
insatiable, all-conquering villain, makes it all not just worthwhile but, yes,
rewarding. Worth investigating also from a purely historical sci-fi film per-
ty y (Don Siegel / 1971/ USA / Action-Crime-Thriller/ 102 mins/
R), 10 pm Monday and again 6.30 pm Tuesday Turner Classic Movies.
Watch this if you liked Scarface, Lethal Weapon or The Road Warrior. Clint
Eastwood as the ultimate, if not the original, ice-cold, hard-as-nails cop.
Hardly a bump (outside of only its politics, perhaps) in its runtime and
many a quotable line of dialogue. A lot of fun, particularly if you don t
examine it too deeply. Bruce Surtees cinematography---amazing opening
sequence with the woman shot in the pool---and Lalo Schifrin s music
would impress focus groups today. Half the cop flicks shot today are cut
from this template.
t m 12 (Destin Daniel Cretton/ 2013/ USA / Drama / 96 mins/
R for language and brief sexuality), 9 pm Tuesday HBOC. Watch this if
you liked Our Idiot Brother, All is Bright or Moonrise Kingdom. A drama
that could almost have been a documentary, the performances are that
good and the direction that accomplished, Short Term 12 is set in a group
home for troubled teenagers in the American Midwest or Middle of Nowhere.
You might think you re watching real people, not actors. A real treat, as
a film, even if the subject matter is far, far away from entertainment.
B t t t:
n: Horrible Bosses, 6.15 pm HBO; : Face/Off, 4 pm HBOC; :
Flightplan, 8 pm MaxW; : Bird, 5.35 pm TCM; : Syriana, 6.45 pm
HBOC; t: The Quick and the Dead (1995 film), 6.30 am Enc3.
* t m v n n n t t t m nt .
nt n t t m t n v y n t y, t y n m nt - n .
Sunday Guardian www.guardian.co.tt August 24, 2014
A t t B t m n t B x
B y t t
m tn , n m y & C n t n t m v .
CONTINUED FROM PAGE B3
She did a painting of a woman,
with white paint on a black back-
ground, looking to me as "net" on
felt. I kind of took that idea and
showed it to her and she was quite
surprised, as these were not the
materials she had used, but I
thought she did. I had created my
I liked the immediacy of thread
and its colour. Yes, I can paint and
draw, but this immediacy is some-
thing harder to achieve within
painting or drawing, I feel. Working
with the fabric gives me a lot of
freedom. I can sit down when peo-
ple are talking to me, and I can
continue to work on it, I can get
a work done that way, and it is
semi-public as well.
And what about the language
piece, or in general the idea of
slang language within your work?
I do a lot of research to do with
language. For me the language
moves the visual.
There is a piece I did years before
the Police an Tief piece, called Hit!
It looked at domestic violence and
I made labels to be attached to
domestic appliances with which
women could defend themselves,
and at the time it was very vivid
discussion within Trinidad society,
and perhaps still is. Women are
not perceived to be capable of vio-
lence, but what is this violence
about? Hit was for me the base to
talk about violence and a lot of
works were shaped after this piece.
If somebody is to drop in to the
island of T&T and to understand
the core of the country in terms
of understanding these social
issues, both the visual work of
artists, as well as writing, are the
instruments that can help us think
It works even better when jour-
nalists or writers are writing about
these social art pieces as a form
of translation and embedding them
into a larger framework of meaning.
I looked at a lot of language for
Hit, for example the domestic vio-
lence act and more specific words
used in communities. This series
specifically focused on women and
sexuality and looking at what was
spoken about women. I had a
curiosity about language and words
being used and I thought I would
concentrate on a series of embroi-
dery around the idea of language.
How to think about texture and
I began to wrap thread around
wire for which I made words,
mostly slang used in Port-of-
Spain, of which many one cannot
understand its meaning directly,
like the slang word for lesbian,
which is zamie. Already using that
word gives some sort of contro-
versy. Words can be very strong.
Do you think the idea of trans-
lation is important? How do these
slang words translate to a place
Well, skettel, one of the words
you can see very well, is a con-
troversial word as well.
But I had a nice conversation
with Tony Cruz about music, since
we have played much music during
the installation, he played some-
thing we call parang. He said we
call this parranda, in which we go
door-to-door and we play it, we
eat.I said to him, we do the same
That was a nice moment of
recognition in which I had to think
of how things relate to each other.
One does not necessarily need to
literally understand each other s
words to speak with one another,
or understand what is being said.
It is the visual and non-linguistic
within language perhaps. There is
some kind of universalism in it
across geography, there is no need
for a literal or direct translation.
The movement of those words is
much more important, negative
or positive, of course.
t n!, y A , w n n t x t n t v t t C nt C nt m y A t (CCA),
w. n t n w y t n t t ny C z.
PHOTO COURTESY ALAN DIMMICK/ CCA
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