1.0MAC Montréalhttps://macm.org/en/Aline Pinxterenhttps://macm.org/en/author/apinxteren/rich600338<blockquote class="wp-embedded-content" data-secret="mu4D3IwdsB"><a href="https://macm.org/en/exhibitions/sara-cwynar/">Sara Cwynar</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://macm.org/en/exhibitions/sara-cwynar/embed/#?secret=mu4D3IwdsB" width="600" height="338" title="“Sara Cwynar” — MAC Montréal" data-secret="mu4D3IwdsB" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script> /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); //# sourceURL=https://macm.org/wp/wp-includes/js/wp-embed.min.js </script> https://macm.org/app/uploads/2022/03/Red-Film-3-1-scaled.jpg25601444Red Film (2018) is the third part of a film trilogy, along with Soft Film (2016) and Rose Gold (2017), that questions how desire is manifested through objects. Although the work focuses on the contemporary economy of infinite choice and the production lines of beauty and value, it delves more deeply into the subject of colour. It takes a lucid, critical look at how colour operates politically, socially, and historically, especially with regard to the definition of beauty. Ubiquitous references to colour create connections among consumer objects, artworks, and a broader concept of capitalism.