Adam Pugh

From the outset, Gabriel Abrantes and Daniel Schmidt’s Palácios de Pena establishes for itself a sense of veiled purpose, effecting a curious disjuncture in both narrative and form. Sumptuously, meticulously photographed; cinematic; yet curiously at odds with its conventional mantle, it dances between feature film and long-form artist’s work, never quite allowing itself to be […]

“My own instinct is that the poles of existence and nonexistence alternate at an extremely fast speed, and that we float in  that alternation. We don’t experience the nonexistence, the moments between existence; there is no way to perceive  these moments as such. But accepting their presence aerates life, and suffuses the “solid” world with […]