Yes Snow Show consists of a selection of video works by Michael Snow made for gallery exhibition. There is no unifying theme but rather these distinct, individual pieces together reveal the continuing development of the artist's moving image practice in a digital age.
Since Snow's first gallery film installation in 1965, his practice as a visual artist is closely linked to his work as a filmmaker, mutually influencing each other. At the BFI, Snow will present Solar Breath (Northern Caryatids), 2002 an unaltered video recording of a natural phenomena. The decision against using any post-shooting manipulation makes this work in the artist's own words 'pure solar breath magic'. In contrast SSHTOORRTY, 2005 another piece in the exhibition, is staged and acted. The film was divided into equal parts, superimposed one on top of the other, revealing unexpected, surprising effects. That / Cela / Dat, 1999 is a gallery installation work that continues the motifs and formal principles of Snow's 1982 film So Is This, but conceived to consciously use the gallery viewing situation as one of its conditions and subjects, whilst Sheeploop, 2000 is shown in the gallery as well as in different locations around BFI Southbank , allowing the context to influence the perception of the work.
Since Snow's first gallery film installation in 1965, his practice as a visual artist is closely linked to his work as a filmmaker, mutually influencing each other. At the BFI, Snow will present Solar Breath (Northern Caryatids), 2002 an unaltered video recording of a natural phenomena. The decision against using any post-shooting manipulation makes this work in the artist's own words 'pure solar breath magic'. In contrast SSHTOORRTY, 2005 another piece in the exhibition, is staged and acted. The film was divided into equal parts, superimposed one on top of the other, revealing unexpected, surprising effects. That / Cela / Dat, 1999 is a gallery installation work that continues the motifs and formal principles of Snow's 1982 film So Is This, but conceived to consciously use the gallery viewing situation as one of its conditions and subjects, whilst Sheeploop, 2000 is shown in the gallery as well as in different locations around BFI Southbank , allowing the context to influence the perception of the work.
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