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Katachi Magazine curates an international selection of the world’s finest design, people and business, presented intelligently as inspiration for the curious.
NICOLAS PROVOST | LONG LIVE THE NEW FLESH
2009 | VIDEO PROJECTION
“Called L’Ellipse, Pierre Huyghe’s video installation consists of an extended panoramic screen bearing three projections shown in sequence from left to right. The left and right ends of the screen are clips from Wim Wenders’s 1977 film, The American Friend. The center screen displays an episode using the film’s original actor, Bruno Ganz, but created by Huyghe years later. This insertion is an ellipsis, a “fill” in a cinematic time gap, that connects the two original scenes to form one continuous real-time sequence. Huyghe’s intervention forms a juncture where art and life, fiction and reality, and past and present intersect.”
PIERRE HUYGHE | L’ELLIPSE
MARK DEAN | CHRISTIAN DISCO (TERMINATOR)
STAN DOUGLAS | WIN, PLACE AND SHOW
DOUGLAS GORDON | DEJA VU
THRESHOLD TO THE KINGDOM | VIDEO | 2000
If cinema has already revealed that the world is a flow of images and this world of images is in a state of constant transformation, then video technology causes a further deterritorialisation of these flows. Video technology not only shows us the movement, the never-ending variation of images, but also the ‘time-matter’ from which the images are made (the electromagnetic waves). Video technology is a mechanical arrangement that establishes a relationship between a significant flows (waves) and significant flows (the images). It is the first technical means of producing images that reflects the ‘general decoding of the flows’.
“Eat, Shoot and Leave” Plan and Viewing System