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Anthony McCall: Here – Defining Space

To celebrate British light artist Anthony McCall's exhibition, EYE on Art will highlight the artistic context of McCall's oeuvre – think minimal art and Land Art – and the all-important basic concepts such as the experience of time and space and the viewer's position.

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A great deal of McCall's work is about defining space (sculptural and cinematic space) and it bears a surprising number of similarities to Land Art's basic tennets.

Gordon Matta-Clark: Conical Intersect (1975, 18”40””, 16mm op video)

Footage of the work that the American artist created for the Paris Biennial in 1975: a large incision into two houses adjacent to the Centre Pompidou, shaped like a twisted cone and inspired by Anthony McCall's film Line Describing a Cone. With live music from Cactus Truck featuring Ava Mendoza.

Robert Smithson: Spiral Jetty (1970, 35', 16mm)

Idiosyncratic portrait of the famous piece of land art (460 m long, 4.6 m wide) on the north-eastern coastline of the Great Salt Lake in Utah. Spiral Jetty comprises mud, salt crystals, basalt rocks and water. Smithson can be heard in the voice-over explaining the work's creation and the underlying concepts. According to Smithson, the distinction between filmed footage (celluloid strips of 'hidden images') and the geological reality of the Great Salt Lake creates a 'cosmic break' in the viewer.

Chris Welsby: Wind Vane (1972, 8”) + Windmill II (1973, 4”)

Wind speed and direction determine the movement and therefore the footage shot by two cameras that have been placed side by side in a landscape.Followed by:

Anthony McCall: Four Projected Movements (1975, 60', 16mm)

Live performance of 16mm installation.

“Anthony McCall on Four Projected Movements:“[In Four Projected Movements] there are four different movements, each created by the same 15-minute reel of film. The reel is passed through the projector in each of the four possible ways (…) Representing a slow transition through 90 degrees, from vertical to horizontal, the plane of light variously makes one feel pushed in different directions. In the first movement, you feel pushed down from the outside into the floor; in the second, pushed into the wall from above; in the third, pushed down, and out, from the wall; and in the fourth, pushed out from the wall, from above. This experience is paradoxical, since light – even “solid” light like this – is, of course, insubstantial.”

Details

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