Michael Snow
(B. 1929 Toronto, Canada // D. Toronto, Canada, 2023)- Video Fields, 2015
- In the Way, 2011
- The corner of Braque and Picasso Streets, 2009
- Condensation-A Cove Story, 2008
- Puccini Conservato, 2008
- Reverberlin, 2007
- Triage_April 22 (with Carl Brown and John Kamevaar), 2005
- SSHTOORRTY, 2005
- Line drawing with Synapse, 2003
- Solar Breath (Northern Caryatids), 2002
- Corpus Callosum, 2002
- Prelude, 2000
- Sheeploop, 2000
- The living room, 2000
- La Ferme, 1998
- Place des peaux, 1998
- VUEEUV, 1998
- See you later / Au revoir, 1990
- Seated Figures, 1988
- So Is This, 1982
- Presents, 1981
- Hearing Aid, 1977-1976
- Cover to cover, 1975
- ‘Rameau´s Nephew’ by Diderot (Thanks to Dennis Young) by Wilma Schoen, 1974
- Two sides to every story, 1974
- Observer, 1974
- La Région Centrale, 1971
- Slidelength, 1969-1971
- Side Seat Paintings Slides Sound Film, 1970
- A casting shelved, 1970
- <--> (back and forth), 1969
- Sink, 1969
- Wavelength, 1967
- New York Eye and Ear Control, 1964
- Little walk, 1964
Condensation-A Cove Story, 2008
Video 10:28 m (loop), no sound
ENG
The title from Condensation- A Cove Story refers to the temporal compression implied in image acceleration. In Snow’s words, “This work is a temporally compressed, condensed recording of several weather-events which took place on and near a wild landscape in the Canadian Maritimes”.
The piece provides a way to understand the camera not as a capturing device which registers prepared stories and settings, but rather as an instrument whose own particularities and possibilities are the main issue at play.
Similar to other consecrated works such as Wavelength (1966-67) or La Région Centrale (1971), the images serve as the trace of an invisible yet implied installation: a camera left alone at a site. We witness what seems to be an operator-less recording, where the camera functions as a tool which affects and transforms the visible while capturing it.
Condensation-A Cove Story transmits the spontaneous dialogue between the landscape and the camera which results in a sequence of images that speak about their progressive transformation to a third party, the public, that takes place in the space of art.
CAST
El título de Condensation-A Cove Story remite a la compresión (condensación) temporal que supone la aceleración de la imagen.“Este trabajo está temporalmente comprimido, grabaciones condensadas de distintos acontecimientos climatológicos que ocurrieron en y cerca de un paisaje salvaje, en la región de las Canadian Maritimes” (Michael Snow, 2008)
La pieza se hace eco de una manera de entender la cámara no como dispositivo para el registro de relatos y escenarios preparados para ella, sino como instrumento cuyas particularidades y posibilidades son los elementos centrales de las secuencias.
En línea con obras consagradas como Wavelength (1966-67) o La Région Centrale (1971), las imágenes funcionan como huella de una instalación no visible pero aludida: una cámara dejada a solas en un espacio. Asistimos a lo que parece ser una filmación sin operador, dónde la cámara funciona como herramienta que afecta y transforma lo visible al capturarlo. Condensation-A Cove Story transmite un diálogo espontáneo entre el paisaje y la cámara, del que surgen unas imágenes que hablan de su progresiva transformación a un tercero, el público, cuya aparición se dará en el espacio del arte.
Video frame
Exhibition at àngels barcelona, 2008