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
Triage_April 22 (with Carl Brown and John Kamevaar), 2005
DVD,colour, sound 30 min
ENG
Triage, created with Carl E.Brown and the musician John Kamevaar , was conceived as reproducing the surrealist’s composition technique of the “exquisite corpse”. “Exquisites corpses” were texts made by several contributions where each collaborator produced a fragment without reading the others. In an analogous way, Snow, Brown and Kamevaar agreed upon the duration of their pieces but would not see the others until their life synchronization during a projection.
Snow’s side of the screen, following an encyclopedic structure, presents “24 images/second of Everything”: invertebrates, mushrooms, pages from a telephone book, colour charts, meteorological phenomena, etc. On his side, and in an almost exactly opposite manner, Brown develops infinite variations in a single sequence. Kamevaar, superimposed his two dialoguing soundtracks to this images he had never seen before.
CAST
Triage es una creación conjunta entre Michael Snow, Carl E. Brown, artista visual conocido por las manipulaciones alquímicas del celuloide, y el músico John Kamevaar. Habiendo pactado unas condiciones mínimas, ninguno de ellos sabía exactamente cuales iban a ser las propuestas de los otros dos, lo que convertía el momento de la proyección en una experimentación con el azar análoga por ejemplo, a las composiciones que Cage realizaba para coreografías que no veía hasta el día del espectáculo.Snow compara Triage con el “cadavre exquis” de los surrealistas en que varios autores componían un texto, pero cada uno escribía su parte sin conocer la de los demás. Por lo tanto, Triage es el resultado de la sincronización “en directo” de los tres canales (dos pantallas yuxtapuestas y el sonido). En la pantalla de Snow se suceden imágenes “de todo” (invertebrados, setas, fondos marinos, fenómenos meteorológicos), mientras que Brown lleva a cabo infinitas variaciones de una misma secuencia.