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
Two sides to every story, 1974
Double 16 mm installation
ENG
On two sides of a metal screen hung in the center of the gallery, two films are projected in continuous loops from opposite ends of the room. Both films show a woman making a series of movements as she walks between two cameramen positioned opposite each other. The films projected on opposite sides of the screen re-present the two differing perspectives of the cameramen. The viewer can only see these by walking from one side of the screen to the other. Snow breaks down the single viewpoint of the camera, redefining the cinematic as a complex spatial experience. Neither side of the screen can be read as front or back; both are interchangeable and, therefore, rendered equal.
CAST
En dos lados de una pantalla de metal guindando en medio de la galería, dos películas estan proyectadas en loops continuos desde lados opuestos de la sala. Las películas proyectadas en lados opuestos de la pantalla re-presentan las dos diferentes perspectivas de los camarógrafos. El espectador solo puede ver estas perspectivas al caminar de un lado de la pantalla al otro. Snow deconstruye el punto de vista único de la cámara, redefiniendo lo cinemático como una expericia espacial compleja. Ninguno de los lados de la pantalla se puede considerar como frontal y posterior; ambos son intercambiables y por lo tanto, iguales.
