Michael Snow

(Toronto, 1928)

Sheeploop, 2000

DVD, video-installation in continuous projection on four monitors. 15 m

ENG

In the monitor piece Sheeploop, 2000, for instance, a static camera simply records a clutch of sheep grazing in front of the sea for a quarter of an hour. It taps our physical relationship to painting, pushing the limit of how long we are willing to stand in front of a canvas by appealing to our atavistic respect for events unfolding over time. While history painting offers us the image of a sustained denouement, where the dramatic or emotional pitch appears to be at its highest, and traditional landscape painting offers us a sustained idyll or sublime moment that is the antithesis of denouement, the action in Sheeploop falls between the rock of imminent narrative closure and the hard place of durational inaction. It is between these two posts that we linger to deliberate these creatures for longer than we ordinarily might.

In Berlin it was shown simultaneously on three different monitors separated from each other and near Cinema Arsenal in Potsdamer Platz.

 

Video frame

Video frame