30 min
The film Line Describing a Cone was made in 1973 and it was projected for the first time at Fylkingen (Stockholm) on 30 August of the same year. This piece, which was initially screened in independent film contexts, it soon began to be shown at art museums and ended up becoming one of the key works of the artistic movement that opened up the visual arts towards cinema. With a duration of 30 minutes, the film shows the creation of a white curve being projected onto an empty space. A thin mist is introduced into the projection area, therefore the viewer can progressively see (more than a circle reflected on the wall) a large cone of light which simultaneously becomes a light sculpture into which he is invited to circulate. By allowing the viewer to immerse himself in it, and play with this strange substance, Line Describing a Cone becomes not only something made to be seen, but also something to be experienced since the viewer is absorbed into the scene and becomes part of the action. In this way, McCall recreates an inversion: by placing the public facing the projector, he reveals the entire process of kinematics and, at the same time, he destroys any possibility of illusionism, in order to create another, that of magic, poetry and wonder.
Since the 70s, the British artist Anthony McCall has continued to push the boundaries of art. Exploring the boundaries between cinema and sculpture, he uses light and time as his signature materials. His work spans across drawing, installation, and performance, one of his preferred mediums. McCall is a key figure of British avant-garde film from the 70s. His first films retrace his outdoor performances. Experimental film in 16mm is one of his main mediums that he uses in confrontation with sculpture and performance. McCall is an indispensable reference to a younger generation of artists working in video and installation in England and abroad. Anthony McCall was born in Great Britain in 1946. He lives and works in New York.
This score is a graphic record of the detailed choreography of one of Anthony McCall’s Landscape for Fire performances...
The work of Keith Tyson is concerned with an interest in generative systems, and embraces the complexity and interconnectedness of existence...
Epiphany…learnt through hardship is composed of a bronze sculpture depicting the model of the little dancer of Degas, in the pose of a female nude photographed by Edward Weston (Nude, 1936) accompanied by a blue cube...
Since 2005, Charles Avery has devoted his practice to the perpetual description of a fictional island...
Beyond the White Walls , with a commentary written and spoken by Jeremy Deller, is often wryly amusing...
In 2008, Grassie was invited by the Whitechapel Gallery to document the transformation of some of its spaces...
In Made In Heaven , we are face to face with a sculptural apparition, a divine visitation in the artist’s studio...
The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...
Wallace says of his Heroes in the Street series, “The street is the site, metaphorically as well as in actuality, of all the forces of society and economics imploded upon the individual, who, moving within the dense forest of symbols of the modern city, can achieve the status of the heroic.” The hero in Study for my Heroes in the Street (Stan) is the photoconceptual artist Stan Douglas, who is depicted here (and also included in the Kadist Collection) as an archetypal figure restlessly drifting the streets of the modern world...
Untitled (rolled up) , is an abstract portrait of Owen Monk, the artist’s father and features an aluminum ring of 56.6 cm in diameter measuring 1.77 cm in circumference, the size of his father...
Wagon Wheel is a work with a fundamental dynamism that derives both from the rotating movement of the elements suspended on poles and the kicking of the legs of the figure...
In the installation Our Love is like the Flowers, the Rain, the Sea and the Hours, Martin Boyce uses common elements from public gardens – trees, benches, trashbins– in a game which describes at once a social space and an abstract dream space...