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Aïda Ruilova, Goner, 2010, still from a color film in 35 mm, 11 minutes 35 seconds.

Aïda Ruilova

Salon 94 | Bowery

Aïda Ruilova, Goner, 2010, still from a color film in 35 mm, 11 minutes 35 seconds.

From the early Oh no, 1999, to Meet the Eye, 2009, Aïda Ruilova’s fast-art reflections on filmic constructions of women have progressed from schooled DIY antiaesthetic to polished commercial appearance (the latter work features 1970s B-movie queen Karen Black). In their synthesis of formal and stylistic elements from experimental filmmaking, avant-garde video, and mainstream psychological thrillers and horror flicks, Ruilova’s works conjure a condition of endless, narrativeless suspense: Women—her protagonists are usually female—confront existential and corporeal jeopardy, often navigating spatial-temporal fields disrupted by relentless knifelike visual and aural jump cuts.

Presented at Salon 94 Bowery, Ruilova’s new video loop, Goner, 2010, stars actress-model Sonja Kinski (the offspring of actress Nastassja). In shooting the 35-mm film (subsequently transferred to

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