With this purpose in mind, a program has been designed that functions as a complex system comprised of different, even opposing, points of views and forms. The idea is to uncover a set of contradictions, in an attempt to show the precariousness of the meaning of history, to show the passage of time beyond all logical or causal effects. In other words, following the same lines as the proposition made by Georges Didi-Huberman in his Atlas. How to carry the world on one's back?, the idea is to present, by means of a montage project, the rips and reverberations found inside forms, in this case forms in movement, which are also the mediated representation of History.
Reading images, reading time arranges a series of heterogeneous and anachronistic materials that cover the period from the 1950s to the present and that, when the spectator takes position, build a sort of constellation capable of containing, by friction, a compendium of time fragments and fundamental images with which to understand the presence of a past, now remote, in a present built by the powerful with bricks of sensationalism, through the influence of fashion. The exhibition articulates a total of six groups by theme and rhythm, each holding materials and points of view that are fragmentary, but equally true: works that engage in dialogue with one another, seeking a new way to think between the images, led by resonance, alteration and juxtaposition.
Reading images, reading time attempts to produce that distance that is so important in manipulating sets of audiovisual pieces. Thus, the power of the moving image ends up becoming that which entraps it in a play of similarities and multiplicities, from its origin in the eternal metamorphosis of forms. That which is true over time can only be reflected in transitory and materialistic images, footprints in flight: a stocking turned inside out.
6 june, 2011
Session 1. The Dialectical Image: Hollis Frampton
Straits of Magellan: Drafts & Fragments (Panopticons), 1974. 16 mm film, 52’.
Apparatus Sum (Studies For Magellan #1), 1972. 16 mm film, 3’.
Winter Solstice (Solariumagelani), 1974. 16 mm film, 33’.
Otherwise Unexplained Fires (Memoranda Magelani), 1976. 16 mm film, 14’.
For Georgia O'Keefe (Pares Magelani), 1976. 16 mm film, 3’.
Not The First Time (Tempera Magelani), 1976. 16 mm film, 5’.
Tiger Balm (Memoranda Magelani #1), 1972. 16 mm film, 10’.
Gloria!, 1979. 16 mm film, 9’.
9 june, 2011
Session 2. Moi est un autre. Bruce Baillie, Sharon Lockhardt, Robert Beavers and Jean Rouch
Bruce Baillie. Quixote, 1965. 16 mm film, 45’.
Sharon Lockhart. NÔ, 2003. 16 mm film, 34’.
Robert Beavers. Early Monthly Segments, 1968-70/2002. 35 mm film, 33’.
Jean Rouch. Les Maîtres fous, 1955. 16 mm film, 36’.
13 june, 2011
Session 3: Pa(i)sajes [Landscapes/Passages]. Peter Nestler, Jem Cohen and James Benning
Peter Nestler. Die Nordkalotte, 1991. 16 mm film, 90’.
Jem Cohen. The Passage Clock (For Walter Benjamin), 2008. Video transferred to DVD, 10’.
James Benning. One Way Boogie Woogie/27 Years Later, 2005. 16 mm film, 121’.
16 june, 2011
Session 4 - Representatio of History, History of Representation. David Gatten, Robert Fenz and Guy Sherwin
David Gatten. Secret History of the Dividing Line, 1996-2002. 16 mm film, 20’.
David Gatten. The Great Art of Knowing, 2004. 16 mm film, 37’.
David Gatten. So Sure of Nowhere Buying Times to Come, 2010. 16 mm film, 9’.
Robert Fenz. Crossings, 2006. 16 mm film, 5’.
Robert Fenz. Meditations on Revolution, Part V: Foreign City, 2003. 16 mm film, 32’.
Guy Sherwin. Portrait with Parents / Candle and Clock / Tap / Breathing / Metronome / Maya, 1976. 16 mm film, 20’.