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
Corpus Callosum, 2002
16mm (from DV), color, sound, 90 min, 2 reel
ENG
Corpus Callosum juxtaposes or counterpoints a realism of normal metamorphosis (two extreme examples: pregnancy, explosions) in believable, “real” interior spaces with “impossible” shape changes (some made possible with digital animation). First the camera, then we in the audience, observe the observations of the “real” people depicted in the obviously staged situations. What we see and what they “see” is involved in shifting modes of belief. The sound – electronic like the picture – is also a continuous metamorphosis and as the film’s “nervous system”, is as important to the film as the picture. Or: the sound and the picture are two hemispheres joined by the artist.
“Corpus Callosum is resolutely ‘artificial’, it not only wants to convince, but also to be a perceived pictorial and musical phenomenon”.
Michael Snow
CAST
Corpus Callosum yuxtapone o contrapone el realismo de una metamorfosis normal (dos ejemplos extremos: el embarazo y la explosión) en espacios interiores creíbles y “reales” con cambios “imposibles” de modelación del espacio (algunos estan hechos con la animación digital). Nosotros los espectadores vemos las observaciones de la gente “real” presentada en situaciones evidentemente planificadas. Lo que nosotros vemos y lo que ellos “ven” esta involucrado en modos inestables de creer. El sonido, electrónico como la imagen, también está en una metamorfosis continua. Es tan importante como la imagen para la película, funcionando como su “sistema nervioso”.
“Corpus Callosum es firmemente ‘artificial’, no sólo busca convencer, pero también ser un fenómeno pictórico y musical que se percibe”.
Michael Snow
Stills from Corpus Callosum