This Friday, don’t forget to get out to 911 Media Arts Center for the Artist Reception and Opening of Gary Hill’s Glass Onion, beginning at 6 PM. For this interactive installation, you will be “topographically mapped into a field of cocentric rectangles” in Hill’s exploration of the relationship between video feedback and cybernetics, as explained by the organization’s website. Check out the video of Hill’s experimentation with the layering of voice, image, and sound transmission Soundings and 911 MAC’s description of the exhibition below.
Gary Hill’s Glass OnionAugust 3 – September 15, 2007 at 911 Media Arts Center
Recognized internationally as one of the most important artists of his generation, Gary Hill has been working with sculpture and electronic media since the early 1970’s. He has produced a large body of both single-channel video works and mixed-media installations. His long time work with intramedia continues to explore an array of issues ranging from the physicality of language, synesthesia and perceptual conundrums to ontological space and viewer interactivity. Curated by Misha Neininger, 911’s Executive Director, this exhibition will spotlight Hill’s Glass Onion, a complex installation work incorporating a close-circuit video camera, five video displays, and eight speakers. Precisely scored animated text and layered speech both describe and mirror the process of feedback. The viewer becomes topologically mapped into a field of concentric rectangles reflecting further the inherent structures of video feedback and cybernetics. 911 Media Arts Center is pleased to present a reprise of this seminal work, continuing an already longstanding collaboration of mutual support with the artist that began in 1981, when Hill premiered Glass Onion at 911 Media Arts Center’s predecessor, and/or.
Also included in the exhibition are Clover, 1994, and Twofold (Goats and Sheep), 1995 / 2002. These works hint at the thresholds between language and image, silence and sound, real time and recorded time, viewed and viewing, but rather than emerge as sets of dualities, these thresholds are described by Hill as “resonating membranes” through which the artist and viewer begin to merge.
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