Roamie View: History Enhancement (Re’Search Wait’S)
A Family Finds Entertainment
On view September 5–October 7, 2013
Not on view: September 6, 9 (de-installation period);
September 15—26 (NY Art Book Fair)
Invoking the growing convergence between labor, consumption, and that which propels them, Image Employment examines different ways artists use moving image work to investigate contemporary modes of production. The selected works illustrate various approaches to the subject, from observational films that avoid participation in capitalistic image creation, to videos that engage corporate omnipotence by employing its processes, as well as works that complicate these two tendencies.
Many of the films in the exhibition take an oppositional approach to commercial image making. In Kevin Jerome Everson’s Quality Control, African-American workers from an Alabama dry-cleaning factory are shown relentlessly carrying out their jobs in real time. Everson explores the duration and physicality of labor through a series of lengthy shots that draw attention to particular tasks such as working the pant press or ironing shirts.
Alternately, many video works in this exhibition employ corporate processes and communication by reiterating corporate imagery and intervening into sites of emergent industries and globalized consumption. DIS’ Watermarked I Kenzo Fall 2012, for example, arose out of a paid commission for Kenzo’s seasonal menswear collection. The work reflexively dramatizes the commercial advertisement form through the absurd excesses of the actors’ expressions, the politically correct racial composition, and a stock media infused aesthetic.
Workers Leaving The Factory
Auguste and Louis Lumière, 1895, 1 min, 35mm to video, b&w, silent, France
Workers Leaving the Factory
Harun Farocki, 1995, 36 min, video, color and b&w, 1:1,37, Germany
Workers Leaving the Googleplex
Andrew Norman Wilson, 2011, 11 min, HD video, color and sound, United States
Workers Leaving the Job Site
Kevin Jerome Everson, 2013, 6:30 min, 16mm to HD video, color, silent, United States, Courtesy of the artist; Trilobite-Arts DAC and Picture Palace Pictures
Program duration: 54:30 minutes
Screening schedule: 12:00, 1:00, 2:00, 3:00, 4:00, 5:00
Kevin Jerome Everson, 2011, 71 min, 16mm to HD video, b&w and sound, United States, Courtesy of the artist; Trilobite-Arts-DAC and Picture Palace Pictures
Sharon Lockhart – TBC, 2008, 83 min, 35 mm transferred to HD video, color and sound, United States
Ben Rivers, 2011, 21 min, 16mm to HD video, color and sound, United Kingdom
Dan Eisenberg, 2011, 69 min, HD video, color and sound, U.S./Germany/Turkey
Quality Control: 12:00
Lunch Break: 1:15
Sack Barrow: 2:40
Unstable Object: 3:05
Quality Control: 4:15
Guy Ben-Ner, 2007, 18 min, SD Video, color and sound, Israel
Pilvi Takala, 2008, 13 min, HD Video, color and sound, Finland
A New Product
Harun Farocki, 2012, 36 min, HD video, color and sound, Germany
People’s passion, lifestyle beautiful wine, gigantic glass towers, all surrounded by water
Neil Beloufa, 2011, 10 min, HD video, color and sound, France
Watermarked I Fall 2012
DIS, 2012, 2 min, HD Video, color and sound, United States
Harm van den Dorpel, 2011, 5 min, HD video, color and sound, The Netherlands
Green Screen Refrigerator
Mark Leckey, 2010, 17 min, HD video, color and sound, United Kingdom
Michael-Bell Smith, 2012, 3 min, HD video, color and sound, United States
Hito Steyerl, 2010, 30 sec, HD single channel video, color and sound, Germany
Ryan Trecartin, 2009, 33 min, HD video, color and sound, United States
Program duration: 2:18 minutes
Screening Schedule: 12:00, 2:20, 4:40
The Financial Crisis
Superflex, 2009, 12:23 min, HD video, color and sound, Denmark
Ben Thorp Brown, 2013, 15 min, HD video, color and sound, United States
Zachary Formwalt, 2011, 14:25 min, HD single channel video, color and sound, United States
Works courtesy of the artists.
Curated by Aily Nash and Andrew Norman Wilson.
My heart hurts from racing and I feel dizzy.
The seven rooms may be dressed to feel calm but don’t be mistaken; repeating groups of like-colored furniture and a Muzak track that sounds like you’re out on the patio of the W hotel is just the safety zone. Plug-in your headphones and you might begin to feel numb as a voyeur in an unintelligible world that mixes the ambience of late night porn adverts (without the nudity or sexual innuendo) with the vapid self-made star performances as seen on YouTube. Every so often a word is recognizable as English, like “individual” or “sledgehammer” but for the most part language has suffered a breakdown, enhanced by the tweaked-out voices reminiscent of a heavy handed Auto-Tune.* In the first room I was addicted; I couldn’t leave but I didn’t want more. Ryan Trecartin is not to blame for this, he has just created a snapshot of where we are now: a non-place of chaotic noise.
* The trailer is far more lexical than the actual films.
A scene from the video “Ready (RE’Search Wait’S),” part of Ryan Trecartin’s show “Any Ever” at MoMA PS1, with Mr. Trecartin in one of his video personas.
Read the NYT review here (includes video clip): http://www.nytimes.com/2011/06/24/arts/design/ryan-trecartins-any-ever-at-moma-ps1-review.html?_r=1&nl=todaysheadlines&adxnnl=1&emc=tha28&adxnnlx=1308924036-qwyqHsmBDufoU4kEtar2cg
On view June 19, 2011–September 3, 2011
MoMA PS1 presents Any Ever, the New York premiere of the artist Ryan Trecartin’s (b. 1981, Webster, Tex.) 2007-2010 body of work, produced in Miami with collaborator Lizzie Fitch and contributors ranging from friends and fellow artists to working child actors.
MoMA PS1’s first-floor Main Gallery will be devoted to the nonsequential series of seven movies, which are structurally conceived in two parts, one consisting of a trilogy, Trill-ogy Comp (2009), and the other a quartet, Re’Search Wait’S (2009-10). The movies are interconnected spatially via networked viewing rooms and materially by characters, semblances of plot, and formal, recurring motifs.
Having emerged from the 2000s as an innovator of ecstatic new frontiers in art and cinema, Trecartin has been influential within the art world and among a broader, intergenerational set of thinkers and cultural consumers. Consistent with his work to date, this latest series mines emergent evolutions of identity, narrative, language, and visual culture for content, and propels these matters forward as expressive mediums, through darkly jubilant and categorically frenetic formal experimentations.”