The Newest Olds transforms Detroit’s iconic city-scapes, dislodging buildings from their foundations and collapsing the physical, political and sensory boundaries between Canada and the United States through alchemical, in-camera, and optical printing techniques.
As if an antonym to a city symphony, The Newest Olds wanders through frames of fluid hues that flow uncontrollably. The impersonal landscapes of city skylines or of the eternal suburbia are deconstructing themselves. The glitch stands in opposition to photochromatic matter. The experience of a contaminated lens agitates the retina towards neurosis, towards the desire to tear it away from the senses, as if that would help remove the parasite. But as the auditory plane becomes more ardent, more evidently politically charged, the need for escape alleviates. It gives way to the need for action. (Emil Vasilache)
Pablo Mazzolo is a filmmaker and educator from Buenos Aires. He works exclusively in analogue film formats exploring the optical and chemical properties of the medium, with a particular focus on human and natural landscapes. His work has tackled themes such as indigenous sovereignty, the spectre of military dictatorship, extinction and environmental catastrophe. His films have been widely exhibited at festivals, museums, and galleries internationally, including Arsenal Institute for Film and Video Art, Museo Nacional Centro de Arte Reina Sofía, Berkeley Art Museum and Pacific Film Archive, Anthology Film Archives, Mar del Plata International Film Festival, Brooklyn Museum, The Buenos Aires Museum of Modern Art, International Film Festival Rotterdam, New York Film Festival and the Edinburgh International Film Festival. Mazzolo is Professor at the National University of Quilmes, works as a freelance documentary film editor, and teaches workshops on visual perception and image creation to young people living with autism.