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Simultaneity (si’mel-te-ne’e-te’) n. |
[on
site] video program:
Neil Goldberg Hallelujah Anyway, 1997 2 min US
Komen/Murphy Couples, 1993 5:20 min NL/IRE
Laurie Halsey Brown watching, 2002 4 min US
Julika Rudelius Train, 2001 7min NL
Bruce Nauman Lip Sync, 1969 1:00:32 US
These works include many occurrences where events or formal aspects of the medium are happening simultaneously; to create multi-layered readings. Neil Goldberg places literature in an unlikely scenario in order to create a collision with everyday life. Sound/image collision is also an element of Komen/Murphy's and Brown's work. While Couples uses recorded phone conversations in connection with a driving scene to create a new narrative, watching creates a meta-narrative from the perspective of a security person, as the viewer witnesses the over-tired security person suffer from post-traumatic disorder when the present collides with the past. The past and present come together simultaneously in Train as the work was a re-creation of an overheard conversation. In Bruce Nauman's work, sound shifts in relation to physical experience, to create a simultaneous 'other'.-lhb
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[BIOGRAPHIES
OF (some of the) VIDEO ARTISTS]
Laurie Halsey Brown is an artist from New York presently living in Rotterdam, the Netherlands. She creates projects about being there that deal with a psychological, experiential relationship to architecture and surrounding ideas of (dis)location, simultaniety and reflection. http://www.movinginplace.net Bruce Nauman was born in Fort Wayne, Indiana. He studied mathematics and physics at the University of Wisconsin before receiving an MFA from the University of California at Davis in 1966. By the late 60s Nauman had earned a reputation as a conceptual pioneer in the field of sculpture and his works were included in the groundbreaking exhibitions, Nine at Castelli (1968) and Anti-Illusion (1969). He began working in film with Robert Nelson and William Allen while teaching at the San Francisco Art Institute. He produced his first videotapes in 1968, describing the transition from film to video thus: "With the films I would work over an idea until there was something that I wanted to do, then I would rent the equipment for a day or two. So I was more likely to have a specific idea of what I wanted to do. With the videotapes, I had the equipment in the studio for almost a year; I could make test tapes and look at them, watch myself on the monitor or have somebody else there to help. Lots of times I would do a whole performance or tape a whole hour and then change it. I don't think I would ever edit but I would redo the whole thing if I didn't like it." Using his body to explore the limits of everday situations, Nauman explored video as a theatrical stage and a surveillance device within an installation context, influenced by the experimental work of Merce Cunningham, Meredith Monk, La Monte Young, Steve Reich, and Phillip Glass.
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