HERE AND ELSWHERE
April 12 to June 3 2006
Galerie Maisonneuve
Curated by Muriel Quancard
In Here & Elsewhere, 2002, two synchronized videos are projected side by side, creating a vertical seam where they meet. What might be called the project’s “narrative” revolves around an interview between an older man who remains off camera (played by British film critic and theoretician Peter Wollen), and a thoughtful ten year old girl (played by his daughter, Audrey). Periodically the visuals cut away to quotidian interior shots of the girl at home and exterior locations in and around Los Angeles. Although the video is structured as a loop, the questions the girl is asked trace a series of themes, each of which builds on the preceding dialogue. As the interview unfolds, their conversation touches on intersubjectivity, existence, temporality, memory, epistemology, photography and desire. Wollen’s questions are loosely adapted from France / tour / détour / deux / enfants (1978), a made-for-television experimental video series directed by Jean-Luc Godard and Anne-Marie Mieville. The relationships, which emerge from the images on either side of the central vertical seam, serve as a structural score for the ideas addressed in the interview, such that the continuity, friction, gaps and overlaps that result from their simultaneity underscore the girl’s desire to speak a coherent articulation of time, space, image and identity.
Further info on Here and Elswhere
Kerry Tribe in represented by 1301PE
HERE AND ELSWHERE
April 12 to June 3 2006
Galerie Maisonneuve
Curated by Muriel Quancard
Near Miss, 2005, is the second in a series of new works dealing with perception, coincidence, and the phenomenology of memory. Insofar as the film is an attempt to reenact an undocumented event witnessed only by its director ten years ago, the work touches on the problems associated with the objective communication of subjective memory.
Near Miss consists of three nearly identical cinematic “takes.” In each, the camera is positioned inside a car that appears to be driving late at night though a snowstorm. Highway markers and a road sign slip by on the right, and the red tail-lights of another car can be seen in the distance on the road ahead. After about a minute, the car begins to lose traction, fishtails, then spins around to face the way it came, sliding backwards until it finally comes to a stop. The image cuts to black, and after several seconds, another take begins. Each take is accompanied by its own unique sound track, and each reveals subtle differences in the details of its execution.
Accompanying the film, but never in the same space, is a large color photographic production still of an orange Volvo station wagon, raised up on dolly wheels and elaborately outfitted with lights and cables, inside a film studio. The room is filled with the hazy residue of fog and snow machines. In the background, artificial snow banks and a prop sign can be seen.
Further info on Near Miss
Kerry Tribe is represented by 1301PE