FAME : Robert Priseman
January 10, 2014TIME::CODE
February 23, 2014
Video Art from the Present to the Past into the Future
Opening celebration Sunday February 23rd | 12-6pm
Special Screening Living Room by Michael Snow Sunday February 23rd | 3pm
On view February 23rd to March 28th 2014
Link to images and press packet
Oreet Ashery | Dara Birnbaum | Alina and Jeff Bliumis | Robert Boyd
Hans Breder | Tania Candiani | Stefano Cagol | Gordon Cheung | Jaime Davidovich
Braco Dimitrijevic | Adolfo Doring | Dieter Froese | Gary Hill | Ferrán Martín
Mary Mattingly | Jonas Mekas | Yucef Merhi | Igor Molochevski | Iván Navarro
Damian Ontiveros | Dennis Oppenheim | Jean-Gabriel Périot | Larissa Sansour
Arleen Schloss | Carolee Schneemann | Kiki Seror | Michael Snow | S&P Stanikas
Javier Téllez | The Blue Noses | Wojtek Ulrich | Roi Vaara | Helena von Karkkainen
Ai Weiwei | Sislej Xhafa
Whitebox Art Center presents
TIME::CODE is an exhibition of video art selected mainly from White Box Art Center’s archive. The exhibition’s title and curatorial framework metaphorically weave the technical nomenclature for video and film synchronization, and the experimental film directed by Mike Figgis. The former is addressed in the historical arc of the exhibition consisting of important works by early video pioneers including Michael Snow, Carolee Schneeman, Gary Hill, Dieter Froese, Dara Birnbaum, Dennis Oppenheim, Jamie Davidovich and others, and are shown alongside a succeeding generation of video artists who have engaged the medium as innovatively as their predecessors. The exhibition, however, resists conventional sequential mapping of video art via its other point of thematic departure: Mike Figgis’ Timecode (2000).
Timecode was filmed by four cinematographers whom each shot a non-stop, 90-minute take. These individual shots were then simultaneously played on one screen split into four sections. TIME::CODE adopts this trope via a constellation of video works that coalesce in their disparate shifts between single and multichannel, analog, digital and animation, as well as diverse display formats including LCD, CRT, projection, sculpture, and installation.
Like the split screen of Timecode and its fracturing of both time and space, the exhibition creates a rhizome-like environment of video works that are as much in dialogue with each other as they are independent. This curatorial modus operandi often appears more like an artistic act; conversely, curatorial decisions were informed by artists in the exhibition and those collected in the archive including, respectively, Alina Bliumis, Ferran Martin, Arleen Schloss, and Andrea Monti. This collective process engenders a creative reciprocity between the blurred roles of curator as artist and artist as curator. The individual works selected run the gamut of subject matter that draw from the personal to the public, from reality to the imaginary, and coupled with TIME::CODE’s idiosyncratic exhibition presentation, critically engage social and political issues of our global contemporaneity.
Curated by Raul Zamudio and Juan Puntes
Special thanks to artists Arleen Schloss, Alina Bliumis, Ferrán Martín, Hans Breder, David Rong and Andrea Monti for their curatorial advice and participation as well as the Henry Moore Institute.
Yasira Nun Organizer, Ivo Stoop Technology Consultant, Rosalinda Gonzalez Coordinator,
Issac Aden Chief Preparator, Srinjoy Gangopadhyay and Fernanda Bonilla Asst. to the Curators
