Reviews, Interviews, Short Essays

“Interview: John Smith’s Covid Messages,” Moving Image Review and Art Journal 9, no. 2. 2021; 222–230

“Rustling Leaves” [on Haneda Sumiko’s The Cherry Tree with Grey Blossoms], New Left Review: Sidecar. 9 September 2021; Link

“Remembering Women: Claudia von Alemann’s Blind Spot,Cinema Scope 87. Summer 2021; Link

“Working Girls,” 4Columns. 11 June 2021; Link

“Camera Lucida” [review of Annette Michelson’s collected essays], New Left Review 129. May–June 2021; 135–142

“Urban Studies: On Shengze Zhu’s A River Runs, Turns, Erases, Replaces,Artforum. June 2021; Link

“L’Intrus,” 4Columns. 19 March 2021; Link

“The Lives of Others: on James Benning’s PLACE,” Artforum. March 2021; Link

“A Gorgeous Parade” [on Mostafa Derkaoui’s About Some Meaningless Events], New Left Review: Sidecar. 11 February 2021; Link

“Top Ten,” Artforum. December 2020; 34; Link

“Milestones,” 4Columns. 30 October 2020; Link

“Time is the Best Author: On Tsai Ming-liang’s Days,Artforum. October–November 2020; Link

Futurs de l’obsolescence: essai sur la restauration du film d’artiste by Enrico Camporesi” [book review], Journal of Cinema and Media Studies 59, no 4. Summer 2020; 190–194

“In Search of the Female Gaze,” Cinema Scope 83. Summer 2020; Link

Korean translation in:

Critic-al

July 2021; Link

“A ‘Small Utopia’? Artists’ Film and Video Online,” Art-Agenda. 5 June 2020; Link

“Hal Foster’s What Comes After Farce?Art in America. 18 May 2020; Link

“Variety,” 4Columns. 1 May 2020; Link

“Shoot!,” ArtReview. April 2020; Link

“In the Studio: Sophia Al-Maria,” Art in America. April 2020; Link

“Just Don’t Think I’ll Scream,” Sight and Sound. April 2020; 19–20

“Meaningful Collaborations,” ArtReview. March 2020; Link

“The Art of Documentary,” ArtReview 72, no. 1. January–February 2020; 34

“Now We Think as We Fuck,” 4Columns. 17 January 2020; Link

“Far from Paradise: Nina Menkes’ Queen of Diamonds,Cinema Scope 81. 2020; Link

“Historical Present: On Brett Story’s The Hottest August,Artforum. November 2019; 65

“No Data Plan,” Cinema Scope 80. Autumn 2019; 72–73

“Places in Cities,” Textur #1: Angela Shanelec. Vienna: Viennale; 2019; 58

“Non-Fiction,” Sight and Sound. November 2019; Link

“Laura Mulvey’s Late Style,” Frieze 206. October 2019; Link

“Above the Fray” [on drone cinematography and the Lithuanian Pavilion at the 2019 Venice Biennale], Artforum. September 2019; Link

“Curses and Blessings: Moving Image at the 58th Venice Biennale,” Cinema Scope 79. Summer 2019; Link

“Lis Rhodes: Dissident Lines,” Art Monthly 428. July–August 2019; 23–24

“Atlases of America: Babette Mangolte’s The Sky on Location and Deborah Stratman’s O’er the Land,” Sheffield Doc/Fest catalogue. 2019; 86–87

“High Life,” Sight and Sound. June 2019; Link

“Sub Titles: The Boom in Cinema Magazines Dedicated to Print,” Frieze 203. May 2019; Link

“Happy as Lazzaro,” Sight and Sound. May 2019; Link

“Cinema as Synaesthesia: How to Listen to Artists’ Films,” Frieze.com. 5 February 2019; Link

“Nervous Translation,” Cinema Scope 77. 2019; Link

“The Closing Sequence of Beau Travail,Frieze 200. January–February 2019; 99; Link

“The Image Book,” Sight and Sound. 6 December 2018; Link

Reprinted in:

Jean-Luc Godard: Histoire(s) du cinéaste

London: Sight & Sound / BFI

2020; 121–122

“Crowd Source: On Chris Kennedy’s Watching the Detectives,Artforum. November 2018; 85

“‘There is No Such Things as Documentary’: An Interview with Trinh T. Minh-ha,” Frieze 199. November 2018; Link

“Jane and Louise Wilson, Undead Sun and We Put the World Before You”. 2018; Link

“Birdsong,” Fireflies 6. 2018; 42–43

“Do We Share a World?” [review of 2018 Turner Prize exhibition], Frieze.com. 1 October 2018; Link

“Openings: Charlotte Prodger,” Artforum. October 2018; Link

“Speaking into Being: The Ethnographic Fictions of Laura Huertas Millán”. 2018; Link

Entries on Mary Gaitskill’s “An Affair, Edited” and David Foster Wallace’s Infinite Jest as part of “100 Novels on Cinema,” Sight and Sound. August 2018; 20 and 26

“Marine Parade” [adapted excerpt of An Oceanic Feeling: Cinema and the Sea], Sight and Sound. August 2018; 12–13

“El Mar La Mar,” Sight and Sound. August 2018; 73

“Mansfield 66/67,” Sight and Sound. June 2018; 69–70

“Michael Snow’s ‘Closed Circuit’, Guggenheim, Bilbao,” Art-Agenda. 12 June 2018; Link

“Bad Boyfriends,” [review of Claire Denis’s Let the Sunshine In] Artforum.com. 23 April 2018; Link

“Why Are Artist-Filmmakers Turning to Landscape?,” Frieze.com. 16 April 2018; Link

“Visages villages,” Cinema Scope 74. Spring 2018; Link

“The Nothing Factory,” Sight and Sound. January 2018; 50–51

“Stan Brakhage: Metaphors on Vision,” Artforum. January 2018; 43

“Best of 2017: Film,” Artforum. December 2017; 41

“No Masters: The Cinema of Peggy Ahwesh,” Frieze.com. 6 November 2017; Link

“Adventures in Bandit Country,” [festival report of Berwick Film and Media Arts Festival] Sight and Sound. December 2017; 19

“Breaking Time’s Arrow: Lucrecia Martel and Zama at the 2017 LFF,” Sight and Sound. 20 October 2017; Link

“Letter from New Zealand: Winter in Aotearoa,” Art Monthly. October 2017; 43–44

“The Boat is Leaking. The Captain Lied.” Art-Agenda. 5 September 2017; Link

“The Death of Louis XIV,” Sight and Sound. August 2017; 66–67

“The Human Surge,” Sight and Sound. July 2017; 56–57

“Serious Games” and “Ben Russell: 3 Short Films,” introductory texts for Keimena, Documenta 14 television programme. Link and Link, respectively

“Polyphonic Worlds: Contour Biennale 8,” Ibraaz. 8 May 2017; Link

“I am not Madame Bovary,” Sight and Sound. June 2017; 54–55

“Openings: Jean-Paul Kelly,” Artforum. April 2017; 194–197

“Lights, Camera, Aktion!: ‘Filmaktion: Expanded Cinema and Film Performance’,” Artforum.com. April 2017; Link

“Crossing the Line: For Elle,Sight and Sound. April 2017; 33

“Laida Lertxundi’s Emotional Landscapes,” Sight and Sound. March 2017; 61

Reprinted in:

Landscape Plus: Laida Lertxundi

Edited by Alejandro Alonso Díaz

Milan: Mousse Publishing

2019; 14–17

“La La Land,” Sight and Sound. February 2017; 78–79

“Dreamlands: Immersive Cinema and Art, 1905–2016,” Artforum. January 2017; 206–207

“Creative Evolution: On Philippe Parreno’s Anywhen,Artforum. December 2016; 250

“Entering the Cinema” (co-authored with Ed Webb-Ingall), Artists’ Moving Image Festival. Tramway Glasgow; 2016; np

“Kate Plays Christine,” Sight and Sound. November 2016; 62–63

“The Illinois Parables: Deborah Stratman on Her Histories of the Land,” Sight and Sound. Link

“Chevalier,” Sight and Sound. August 2016; 75–76

“Networked Realities,” Sight and Sound. July 2016; 50–51

“AV Festival: Meanwhile, what about socialism?” Art Monthly. April 2016; 395

“History Repeating: Stan Douglas’s The Secret Agent,Sight and Sound. April 2016; 59

“Run the World,” [review of International Film Festival Rotterdam] Artforum.com February 2016; Link

“Art Direction: Omer Fast’s Remainder,” Artforum. January 2016; 67–68

“Spaces – The Cinema,” Art-Agenda. February 2016; Link

“Searching for Senators and Sailors: The Limited Editions of Kenneth Anger,” Little Joe 5. 2015; 63–71

“On Location: Ben Rivers’s The Two Eyes Are Not Brothers,Artforum. October 2015; 117–118

“The Materiality of Digital Forms: A Conversation between Omar Kholeif and Erika Balsom,” Mousse 50. October 2015; 286–291

“A World Beyond Control,” La Furia Umana 23. Spring 2015; 40–44; Link

Reprinted and Korean translation in:

Harun Farocki – What Ought to Be Done? Work and Life

Edited by Kim Eunhee and Antje Ehmann

Seoul: National Museum of Modern and Contemporary Art

2018; 775–789

“Film as Film: The Collected Writings of Gregory Markopoulos,” Artforum. March 2015; 63–64

“Morgan Fisher, Past Present, Present Past,” Artforum March 2015; 291

“1000 words: Aura Satz,” Artforum. February 2015; 206–209

“Shorts Circuit” [review of International Film Festival Rotterdam], Artforum.com. February 2015; Link

“Kochi-Muziris Biennale,” Art-Agenda. January 2015; Link

“Every Which Way” [review of Experimenta at the London Film Festival], Artforum.com. October 2014; Link

“Round Table: Distribution After Digitization” (moderator), Moving Image Review and Art Journal 3.1. 2014; 73–81

“A Conversation with Ben Rivers,” Speaking Directly: Oral Histories of the Moving Image. San Francisco: San Francisco Cinematheque; 2014; 118–129

“Evil Media” (interview with Shaina Anand),
“The Sounds of School” (interview with Smadar Dreyfus),
and “Dead and Alive” (interview with Roee Rosen),
Berlin Documentary Forum 3, ed. Erika Balsom and Hila Peleg. Berlin: Haus der Kulturen der Welt; 2014; 136–141, 164–169, 178–181

“Fogo Island Dialogues: Belonging to a Place,” Border Crossings 32.4 December 2013; 76–79

“Best of 2013: Film,” Artforum. December 2013; 62

“LUX/ICA Biennial of Moving Images, 24–27 May, 2012,” Moving Image Review and Art Journal 2.2. Fall 2013; 272–281

“Thoughts About Curating Moving Images,” Erika Balsom, Maeve Connolly and Chrissie Iles interviewed by Filipa Ramos, Mousse 38. April 2013; 56–61

“Round Table: Documentary, Ethnography, and the Avant-Garde” (moderator), Moving Image Review and Art Journal 2.1. Spring 2013; 80–90

“Distribution Dossier,” 5-part series for LUX Online. 2013; Link

“A Pilgrimage to the Peloponnese: Gregory Markopoulos, Eniaios, and the Temenos,” Lola 3 2013; Link

“Optic Antics: The Cinema of Ken Jacobs,” The Moving Image 11.2. 2012; 136–139

“On Zubin Pastakia’s Mumbai Cinema Halls,” Marg Magazine 61.3. 2010; 14–21