Double bill of adventure films. 'Percy Jackson and the Lightning Thief' (2010), based on the children's books by Rick Riordan, follows the adventures of 12-year-old New Yorker Percy Jackson (Logan Lerman). When Percy discovers that he is the descendant of a Greek god, he sets out on a cross-country adventure to settle an ongoing feud between the 'Big Three', Zeus (Sean Bean), Hades (Steve Coogan) and Poseidon (Kevin McKidd), and unravel a mystery more powerful than the gods themselves. 'Eragon' (2006), based on the best-selling novel by Christopher Paolini, follows the fortunes of an orphaned farm boy, Eragon (Edward Speleers), whose life is changed forever when a mystic stone chooses him for its keeper. When the stone turns out to be an egg from which a baby dragon is hatched, Eragon realises he has stumbled upon a legacy nearly as old as the Empire itself. With only an ancient sword and the advice of an old storyteller (Jeremy Irons) for guidance, Eragon and the fledgling dragon (voiced by Rachel Weisz) must navigate the dangerous terrain of an Empire ruled by a king whose evil knows no bounds.

The fourth outing in the popular espionage action thriller franchise based on the Jason Bourne novels by Robert Ludlum. Written and directed by Tony Gilroy, who scripted the first three films, the film moves away from the central Bourne character (played in the opening trilogy by Matt Damon) to focus on a new protagonist, CIA operative Aaron Cross (Jeremy Renner). The film, which takes up events where 'The Bourne Ultimatum' left off, sees Cross making the vow to give himself over completely to 'the operation', and quickly proving himself to be the shining star in a new generation of deadly undercover assassins. Rachel Weisz and Edward Norton co-star, while pivotal roles from the previous films are reprised by Joan Allen, David Strathairn, Albert Finney and Scott Glenn.

Fantasy adventure directed by Sam Raimi. Acting as a prequel to the much-loved classic 'The Wizard of Oz' (1939), the film explores how the titular hero, Oscar Diggs (James Franco), a largely unsuccessful circus magician in Kansas, may have found his way to the Land of Oz and his early days in the magical realm. Seeing his new home as a world of opportunity, Oz firmly believes his luck has changed for the better when he is introduced to three witches, Theodora (Mila Kunis), Evanora (Rachel Weisz) and Glinda (Michelle Williams), who suggest that he is destined for greatness beyond his imagination. However, before Oscar can realise his true potential, he must journey through Oz and come face-to-face with the problems that haunt the fantastic land.

After a rough break-up, Elizabeth sets out on a journey across America, leaving behind a life of memories, a dream and a soulful new friend a cafe owner, all while in search of something to mend her broken heart.

Waitressing her way through the country, Elizabeth befriends others whose yearnings are greater than hers, including a troubled cop and his estranged wife and a down-on-her luck gambler with a score to settle.

Through these individuals, Elizabeth witnesses the true depths of loneliness and emptiness, and begins to understand that her own journey is part of a greater exploration within herself.

Now What? is an innovative exploration of artworks and films that return to radical histories subject to erasure or otherwise lost or occluded over time. The moments returned to-the Cuban Revolution, Chile's 1973 coup d'etat, the ambiguous 1989 "revolution" in Romania, and the mayhem surrounding the Red Army Faction in 1970s West Germany-stand as historical watersheds, foundational and precipitate moments in the history of radical politics. Delving into these key historical moments by way of Tania Bruguera's 2009 performance Tatlin's Whisper in Havana, filmmaker Patricio Guzman's decades-long cycle of returns to Allende's Chile, Harun Farocki and Andrei Ujica's Videograms of a Revolution, Corneliu Porumboiu's 12:08 East of Bucharest, the film Germany in Autumn, and Gerhard Richter's October 18, 1977 suite of paintings, Rachel Weiss convincingly threads these works together through subtle and illuminating reflections on the complex dynamics involved in historical trauma and memory, addressing key questions about the meanings and uses of the past.

Now What? is an innovative exploration of artworks and films that return to radical histories subject to erasure or otherwise lost or occluded over time. The moments returned to-the Cuban Revolution, Chile's 1973 coup d'etat, the ambiguous 1989 "revolution" in Romania, and the mayhem surrounding the Red Army Faction in 1970s West Germany-stand as historical watersheds, foundational and precipitate moments in the history of radical politics. Delving into these key historical moments by way of Tania Bruguera's 2009 performance Tatlin's Whisper in Havana, filmmaker Patricio Guzman's decades-long cycle of returns to Allende's Chile, Harun Farocki and Andrei Ujica's Videograms of a Revolution, Corneliu Porumboiu's 12:08 East of Bucharest, the film Germany in Autumn, and Gerhard Richter's October 18, 1977 suite of paintings, Rachel Weiss convincingly threads these works together through subtle and illuminating reflections on the complex dynamics involved in historical trauma and memory, addressing key questions about the meanings and uses of the past.

Born to a prominent family in Havana but exiled to the United States as a girl, Ana Mendieta (1948-1985) is regarded as one of the most significant artists of the postwar era. During her too-brief career, she produced a distinctive body of work that includes drawings, installations, performances, photographs, and sculptures. Less well known is her remarkable and prolific production of films. This richly illustrated catalogue presents a series of sequential color stills from each of twenty-one original Super 8 films that have been newly preserved and digitized in high definition for the 2015 exhibition, combined with related photographs, and reference still images from all of the artist's 104 filmworks; together these illustrations sample the full range of the artist's film practice from 1971 to 1981. The book includes Mendieta's first published comprehensive filmography resulting from three years of collaborative research conducted by the Estate of Ana Mendieta Collection and the University of Minnesota as well as original essays by John Perreault, Michael Rush, Rachel Weiss, Lynn Lukkas, Raquel Cecilia Mendieta, and Laura Wertheim Joseph. The first book-length treatment of Mendieta's moving-image practice, Covered in Time and History aims to locate her films centrally within her larger oeuvre and at the forefront of the multidisciplinary shifts that characterized visual arts practice during the 1970s. Published in association with the Katherine E. Nash Gallery at the University of Minnesota. Exhibition dates: University of California, Berkeley Art Museum & Pacific Film Archive (BAMPFA): November 9, 2016-February 12, 2017 NSU Art Museum Fort Lauderdate: February 28-July 3, 2016 Katherine E. Nash Gallery, University of Minnesota: September 15-December 12, 2015

The new Cuban art grew up in the supercharged and conflicting currents of revolution, sometimes tracking to its optimism and at others scalded by it. But even more than that it was an art with extraordinary relation and relevance to the life of the country across social, domestic, cultural, and psychological registers: aggressive, protean, and perennially restless within an extraordinary conviction about the possibilities of art.-from the Introduction In 1981, Volumen Uno, an exhibition at a Havana gallery, inaugurated a new chapter in the rich history of Cuban art. Featuring an eclectic mix of works by eleven young artists filtered through a variety of styles-informalism, Pop, minimalism, conceptualism, performance, graffiti, and povera-the art was a sharp break with the past in both form and content. More of a phenomenon than a formal movement, the new Cuban art was both a reaction to the sovietization of Cuban culture in the 1970s and the dynamic entry of a generation of artists born around the Revolution and formed by its orthodoxies and its poetic idealism. In this spectacularly illustrated volume, Rachel Weiss offers the definitive critical history of the new Cuban art, exploring its remarkable artistic accomplishments and its role as catalyst for, and site of, public debate. Weiss draws on two decades of engagement with Cuban art and on the statements of the artists themselves to read individual artworks against the complex relationships between artists, their local and global audiences, and the Cuban state. Tracing the shift from the optimism of the early 1980s to the cultural cynicism that paralleled the near-collapse of Cuban society in the 1990s, To and from Utopia in the New Cuban Art identifies a renewed idealism among the artists about the potential role of culture in Cuban society.

This groundbreaking collection from scholars and artists on the legacy of Beckett in contemporary art provides readers with a unique view of this important writer for page, stage, and screen. The volume argues that Beckett is more than an influence on contemporary arthe is, in fact, a contemporary artist, working alongside artists across disciplines in the 1960s, 1970s, and beyond. The volume explores Becketts formal experiments in drama, prose, and other media as contemporary, parallel revisions of modernisms theoretical presuppositions congruent with trends like Minimalism and Conceptual Art. Containing interviews with and pieces by working artists, alongside contributions of scholars of literature and the visual arts, this collection offers an essential reassessment of Becketts work. Perceiving Becketts ongoing importance from the perspective of contemporary art practices, dominated by installation and conceptual strategies, it offers a completely new frame through which to read perennial Beckettian themes of impotence, failure, and penury. From Becketts remains, as it were, contemporary artists find endless inspiration.

Artist, educator, curator, and critic Luis Camnitzer has been writing about contemporary art ever since he left his native Uruguay in 1964 for a fellowship in New York City. As a transplant from the "periphery" to the "center," Camnitzer has had to confront fundamental questions about making art in the Americas, asking himself and others: What is "Latin American art"? How does it relate (if it does) to art created in the centers of New York and Europe? What is the role of the artist in exile? Writing about issues of such personal, cultural, and indeed political import has long been an integral part of Camnitzer's artistic project, a way of developing an idiosyncratic art history in which to work out his own place in the picture.

This volume gathers Camnitzer's most thought-provoking essays--"texts written to make something happen," in the words of volume editor Rachel Weiss. They elaborate themes that appear persistently throughout Camnitzer's work: art world systems versus an art of commitment; artistic genealogies and how they are consecrated; and, most insistently, the possibilities for artistic agency. The theme of "translation" informs the texts in the first part of the book, with Camnitzer asking such questions as "What is Latin America, and who asks the question? Who is the artist, there and here?" The texts in the second section are more historically than geographically oriented, exploring little-known moments, works, and events that compose the legacy that Camnitzer draws on and offers to his readers.

Artist, educator, curator, and critic Luis Camnitzer has been writing about contemporary art ever since he left his native Uruguay in 1964 for a fellowship in New York City. As a transplant from the "periphery" to the "center," Camnitzer has had to confront fundamental questions about making art in the Americas, asking himself and others: What is "Latin American art"? How does it relate (if it does) to art created in the centers of New York and Europe? What is the role of the artist in exile? Writing about issues of such personal, cultural, and indeed political import has long been an integral part of Camnitzer's artistic project, a way of developing an idiosyncratic art history in which to work out his own place in the picture.

This volume gathers Camnitzer's most thought-provoking essays--"texts written to make something happen," in the words of volume editor Rachel Weiss. They elaborate themes that appear persistently throughout Camnitzer's work: art world systems versus an art of commitment; artistic genealogies and how they are consecrated; and, most insistently, the possibilities for artistic agency. The theme of "translation" informs the texts in the first part of the book, with Camnitzer asking such questions as "What is Latin America, and who asks the question? Who is the artist, there and here?" The texts in the second section are more historically than geographically oriented, exploring little-known moments, works, and events that compose the legacy that Camnitzer draws on and offers to his readers.