God of Dice 2 is just one of a series of films that attempts to find the sweetspot between Stan Brakhage and MTV, appropriating audio and visuals— blending high-brow and low-brow into a trippy and enjoyable mess.
I'm calling what happened last night an experience because it wasn't just an event, it was an experience that only Paradigm and Dover Street Market would be able to create. That is, something inspiring, intimate, and thought-provoking.
At some point in time, Nemo Librizzi’s business card officially declared him as the Hotel on Rivington’s “Superintendent of Luminous Detail”. I didn’t ask for his business card when I met him last night, but a superintendent of luminous detail still seems like a fitting description for all of his work. He’s a jack of all trades, an artist of all mediums. He’s tagged subway cars, made books, designed hotel sound systems and lobbies, and now, he’s created a series of intriguing experimental film.
“God of Dice 2” in a weird way is highly biographical. It’s a small peek into the way Librizzi’s brain works— a snapshot of his thoughts, what catches his eye, and what moves him. The film flowed from nonsense to political commentary to uncomfortability to nostalgia. The room moved from laughter to silence, and then to laughter again— because the humor in an aerobics dance video synced to a "Fuck You” symphony by Millie Jackson is definitely heightened when watched in Dover Street Market surrounded by some of New York’s most influential artists drinking nice wine in some extremely nice clothes.
During a discussion led by DJ Stretch Armstrong, host of NPR's show Whats Good with Stretch and Bobbito, a woman raised her hand, “Thank you, this gave me hope” she said.
Hope might seem like a strange verb to attach to a piece that Librizzi say’s is more meant to be “thrown on in the background like a fireplace”, but she isn’t wrong.
Each song and video clip projected different emotions to the viewer, and I often found my mind wandering to a different memory in time. Though some of the longer clips, such as the full Willow Smith music video at the end of the film or the Andy Warhol film test, a prolonged clip of a woman’s motionless face paired with a song by MOP, may have been self-indulgent, I was thoroughly interested the entire way through— wondering why Librizzi included the clip or song. I have a tiny attention span, so that is an incredibly difficult task to achieve.
I felt like I was pulled into Librizzi's inner clique of friends— learning about his larger fears (global warming and the current political climate) and his process (full days worth of watching youtube video after youtube video and downloading whatever catches his eye). The pretentious aura that often humidifies events like this was lacking entirely, leaving only brilliant discussion and the beautiful presentation at the forefront.
Basically, what I'm saying is that when Paradigm says they're throwing an event at Dover Street Market, they aren't messing around. Last night was an experience that I doubt can be recreated easily, but I'm sure their next event, June 12th, will be comparable.
Mela is soft-spoken and confident, “Everything in my career and all that I have learned throughout the years have been leading me to this moment. Not the glamorized version– the emotional side, the exhaustion…everything that comes with single motherhood. I’m trying to convey it in this film because there hasn’t been anything, from what I’ve seen…nothing has been created like this on film about single motherhood.” She studies from time to time, her daughter, Amethyst, who patiently takes in her surroundings, contemplative, as if interested in what her mom is saying. Amethyst is a reflection of her mother—bold with eyes full of curiosity and life. This child, at not even 2 years old, is petite, yet so obviously mighty.
Mela was a product of a very young mother who had multiple children and was never without employment, working to make the ends meet. She struggled in motherhood, most likely silently, unaware of another way— a better way. “My upbringing was a bit bugged out, but full of love.” Mela is determined to break the cycle for her own life, but it seems, even more importantly, for others. Mela has created safe spaces for single mothers to gather and discuss their experiences. She has labeled these workshops, “Let’s Talk.” Mela has held workshops in New York and London, with plans for Los Angeles. She says, “The whole point of “Let’s Talk” is to let women know they can come forward, to vent, let go, and to know they have a support system.”
I think about the women and mothers who were inspired and forever changed–just her presence as she gently cradles Amethyst, has opened my heart. “I’m so happy for you,” she expresses to me. “This is such a transformative time. It’s major. Your life is about to change. You ready?” I know I am ready because of women like Mela. I had been watching her journey unfold on Instagram during her pregnancy. Fearlessly–posting videos of her and Amethyst’s father doing dance routines, pregnant belly and all. Dressing up for photoshoots or bearing her natural, naked body depending on her mood. Mela was very candid about her dissolved relationship with Amethyst’s father that segued into her new life of single mom-hood. Whether she knew it or not, Mela was an example of strength for soon-to-be-mothers; even Mela’s mother was inspired. Mela looks out of the window, proud and content, “She had never, ever been to Europe. I don’t think she believed it was able to happen. So now she wants to go to Italy. She wants to go to Scotland. She wants to see the world! …and I think it’s beautiful. She’s worked her whole life. She deserves it.”
After coming down from the elation of the Oscar nomination with The Florida Project, composing for Richard Russell’s latest album, Everything is Recorded, gaining an agent, constant traveling, auditioning for roles, short film directing, new-fangled matriarchy, and carving out a moment for herself–begs the question. How does Mela juggle it all? She just does. Love of your child will do that.
Special thank you to Maryam Nassir Zadeh, Carhartt WIP and adidas for providing clothing.
