|
|
 |
|
 |
|
|
TITLE : A Radio Silence
DATE : 2008
video installation with flat monitor
DIMENSIONS : variable
PHOTO & VIDEO : Diane Landry
|
|
VIDEO
no sound |
|
|
|
_____
2011
2010
2009
2008
_____
|
_______________________________________________
- Art Gallery of Hamilton, Hamilton (Ontario)
- Séquence, Saguenay (Québec).
- MSVU Art Gallery, Halifax (Nova Scotia)
- Agnes Etherington Art Centre, Kingston (Ontario).
- Durham Art Gallery, Durham (Ontario)
- Esplanade Art Gallery, Medicine Hat (Alberta).
- Koffler Gallery at Beaver Hall Gallery, Toronto (Ontario).
- The Robert McLaughlin Gallery, Oshawa (Ontario).
- Musée d'art de Joliette, Joliette (Quebec).
_______________________________________________
|
|
|
|
“This idea of spatiotemporal compression achieves an unbelievable intensity in Radio Silence [cat. 12], executed in 2008. Landry pushed the limits of what she could inflict on her body in the course of the performative act that led to the making of this work. While staying in New York, she photo- graphed herself once a minute during two 24-hour periods, trying to adopt the same position each time. She then made two video montages of the photos which, put in chronological order, condensed two whole days into about six minutes. The spatiotemporal compression thus achieved is apparent in the speeded-up changes in the brightness of the daylight until the sun goes down, and in the “jerky immobility” of the artist, which reveals that she has moved from place to place during the performance. This work is about the limits im- posed on the body-an issue often confronted in performance art-and the appropriation of space, about movement and immobility, but also about real- ity and the documentation of it. Landry drastically changes the documentary function customarily performed by films of performances. The document here not only bears witness to acts carried out in private but it also and literally becomes the actual material of the work. Historically the ephemeral nature of performance art meant that once the performance was over, the work could only be seen thereafter by proxy.”
(Excerpted from the catalogue «The Defibrillators », text Eve-Lyne beaudry, Musée d'art de Joliette, 2009, p.88.)
|
|
|
|
|
|
|
|
|
|
|
|
|
|