Phil Concannon watches Matthew Barney’s Cremaster Cycle and River of Fundament. Read on if you dare.
We’ve been here before on Mostly Film, looking at the way moving image works are shown in the gallery space, but maybe, just maybe, it’s something that warrants revisiting from time to time because there is no one right way. And there’s always the chance that this will turn out to be about something else after all.
Anyway, what’s got me thinking about screen art in the gallery again is a combination of seeing Gerard Byrne’s A state of neutral pleasure at the Whitechapel Gallery recently and a nagging sense of guilt about not having written about Gillian Wearing’s show in the same space. The exhibitions are very different but among the things they share are a blurring of the boundaries between fact and fiction through the use of restaging, a sense of the televisual and an unusual approach to bringing moving image work to the screen.