DURING FOUR HOURS
curated by José Antonio Navarrete and Marcos Valella
curated by José Antonio Navarrete and Marcos Valella
July 6, 2012
Buena Vista Building, 180 NE 39 St. Suite 207, Miami FL 33137
The exhibition was conceptualized and
developed by the curator and the artist erasing the fixed roles of the
canonical curatorial model.
The principal elements exposed in During
Four Hours are punctual video-films regarding the three previous
exhibitions presented at The Nightclub series, and one projection
in real time on the night of exhibition. All three prior exhibitions of The
Nightclub were filmed to later be included in During Four
Hours. These recordings were done by situating a camera on a fixed
point without interruptions for four continuous hours, from 7:00 pm to 11:00
pm, therefore, only allowing for one predetermined angle of vision for the
length of time of each past exhibition corresponding to The Nightclub.
In During Four Hours these
videos are displayed in the same way that they were made: without editing. At
the same time, the fourth projection functions to register the proceedings of
the exhibition in progress. These fragments are disposed to
interact according to a particular understanding of the montage
constructive principle.
The video-films were done with a strategy of
artistic production that refers to Andy Warhol. However, they take part in the
conceptual logic of the documentation of exhibitions and consequently, they function
as resource of display. The exhibition explores the limits between a work of
art and a documentary record, between artistic positioning and curatorial
action.
During Four Hours proposes an intervention of the exhibition space oriented to
reconfigure and problematize the temporal and spatial relations intrinsic the
exhibition’s model and language. They both function as one medium to the
present and circulate visual art. On the one hand, it constructs a simultaneous
temporality using the resource to synchronize the time of the footage and real
time, a strategy applied by the artist Christian Marclay in The Clock (2010);
on the other hand, it transforms the spectators into the still life of
the show. The active and decisive presence of the audience in anyone of the
fragments permits the integration of its own totality.
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| View of the video installation |
