the exporation of time

Time is perhaps the most elusive concept perceived through art, perhaps the first example that spings to mind is Dali's 'melting clocks'... as i'm sure most know the inspiration for this piece came to Dali as he was waiting for his wife (? i can't remember of the top of my head but i believe it was either his wife or Goya he was waiting for..) seeing the camenbert cheese melting in the sun just like the minutes slowly melted away...

Time it seems is a subject that becomes all consuming and intrisically linked with ideas of space, perceptions of reality, philosophy and states of being. It is certainly a subject that i have attempted to explore in the past.

It is a running theme in Richard Kelly's cult films "Donnie Darko" and "Southland Tales", the idea of the manipulation of time which in these cases are through the exsistance of a 'tangent universe', a forth dimention in which the characters and intrinsically involved in a battle to understand the 'realities' of time which is fragmented and re-aligned.., there are many contradicting theories of time as stated in Eleanor Heartly's art & today, from theorists, philosophers, artists, scientists. I think it is a concept that continues to baffle and intriugue...

more quotidian...

while i was fumbling through Amanda's link 'two thousand' i came across a japanese born sydney artist Koji Ryui and instantly the quotidian object came alive. The above instilation called 'milk tree society' was on display at artspace in 2005. Classic example of quoditian art Ryui uses the readymade everyday object and explores the posibiltities of contstuction and space. Check out 'terminus projects' http://www.terminusprojects.org/projects/ryui.htm there are some really interesting concepts being developed in this project i found, especially in 'first draft' in which Ryui sits with a white box over his head and proceeds to blindly draw portraits using what i can only asume to be the sense of touch and presence of the other person... really quite interesing..

Art & Time: Douglas Gordon

Gordon's work questions how we give meaning to our experience of things. much of his work uses the manipulation of "Real" and "Reel" time to purvey this process of discovering minute detail and focus. In his attempts to re-experience and subvert time threw the manipulation of “real” and “reel” time Gordon makes his audience reflect on their own experiences. We are taken to the past while still experiencing the present, scrutinize a single film so much that it’s meaning become transparent until it loses all meaning together. Gordon also explores the point where we no longer feel time by subverting the process of death.

His work 24-hour-Psycho, 1993 is a replay of hitchcocks 1960 flim Psycho slowed down to play over an entire day. This pulls the audience out of the fiction of the movie and allows for us to examine the events in closer detail changing the meaning and taking away the original intention of the film. his manipulation of Reel time in an attempt to create real time occurrences instead allows time to slow down creating a void of occurrence, where at times there is little or nothing taking place but our own reflection.

Something between my mouth and your Ear, 1994.Is a full room sound and light instillation in which Gordon painted a room completely the same shade of blue and placed a stereo system in it. The light on the ceiling changes brightness depending on the time of day and brightness of the sky, mimicking the natural light of the sun outside. The stereo system in the room plays 30 different tracks that may have been played by his mother in the last six months he was in the womb. Gordon explores his life trying to find subconscious memories that may have affected him at an early age. Recreating the past and present with both light and sound.

Play Dead; Real Time, 2003. In this Real time movie split across three screens. Gordon films a giant Indian Elephant from three different perspectives in a small room. Using the Elephant as a symbol of memory, nature, power,life and Death. As the title suggests the elephant conforms and lies on its side for a short time then returns to its feet after being still for a while. The Elephant in its rising from the dead defeats Death, an impossible idea.  This relates to Gordon’s fascination with control and free will, it is imposible to over come death we have no say however Gordons Elephant refuses it over and over as the video plays the polarity between controlling time and the uncontrollability of time are thus highlighted.

Bibliograpghy

• http://www.gagosian.com/exhibitions/24th-street-2003-02-douglas-gordon/
  
• http://www.tate.org.uk/servlet/ArtistWorks?cgroupid=999999961&artistid=2617&page=1&sole=y&collab=y&attr=y&sort=default&tabview=bio
  
• Art & Today, Elenor Heartney, 2008

Sydney Street Scene

http://www.twothousand.com.au/

Bill Viola in Sydney

For those who missed seeing Bill Viola in Sydney last year (Rosie... you are one of the lucky ones!) 

Here is a link to the catalogue...

THE TRISTAN PROJECT

WELL DONE

Despite my ramblings.... 

you are all doing amazingly well with the BLOG... thanks to those catching up!

I hope you are enjoying it... 

If  you have any ideas / suggestions for next session regarding how we could make the BLOG content even more relevant  to what you are all experiencing with uni / art / exhibitions - let me know!!

A.

MOMA - Aernout Mik - ART & NARRATIVE!!!

Just in case you are in the neighborhood... Aernout Mik   @ The Museum of Modern Art OPENS TODAY!

Melding projection, filmmaking, sculpture, and architecture, 

Dutch artist Aernout Mik questions and subverts such basic 

ideas as narrative and reality. For the artist's first 

survey exhibition in the United States, moving-image 

installations appear in multiple locations throughout 

the Museum.

http://sdm3.rm04.net/ctt?kn=12&m=2523079&r=MzgzMzUxMTAzMwS2&b=2&j=NzE5Nzg3NjYS1&mt=1&rt=0

View exhibition site:

http://sdm3.rm04.net/ctt?kn=4&m=2523079&r=MzgzMzUxMTAzMwS2&b=2&j=NzE5Nzg3NjYS1&mt=1&rt=0

Purchase exhibition catalogue:

http://sdm3.rm04.net/ctt?kn=11&m=2523079&r=MzgzMzUxMTAzMwS2&b=2&j=NzE5Nzg3NjYS1&mt=1&rt=0

Pop art- JEFF KOONS

I hadn't written the Pop Art theme as it was back when we hadn't learned how to blog properly. I thought I'd catch up now.

I saw an image of this work by Jeff Koons my sister had taken on an Art History trip to New York last year. Not knowing much about the work, and finding it nothing but hideous, i decided to ask her why she liked it and what exactly it was about.

Georgie- "So what's the deal with that hideous balloon dog sculpture by Jeff Koons and why do you like it?"

Alex- "Well, I think it's supposed to be hideous. It's about consumer culture. Koons work often reflects consumerism, especially in relation to the eighties. When I saw this work at MOMA, it was on the roof and he had organised tacky and extravagant cocktails to be given out. It's sort of a bit of a joke because it's a fake balloon which is a fake dog which is at a gallery."

The talk with her gave me much more of an insight into his work. I also commented that I like gruesome work that's aesthetically pleasing but pop art to me often isn't aesthetically pleasing. She said that when she saw it she did, in fact, find it aesthetically pleasing. Apparently you can see your reflection in it. This conversation made me think about how of our society is so artificial. We strive to achieve what is not real and we interact with things that aren't natural. We go to the gym (some of us) then sit at our computer and work or go on Facebook. I think people are increasingly less and less in touch with nature and now to the point where we have nearly lost nature.

 I've gone off on a bit of a tangent there but that's my late contribution to Pop Art.

Image derived from http://www.metmuseum.org/special/koons_roof/view_1.asp?item=0&view=l

Review - Matthew Barney (Art and Narrative)

“Matthew Barney’s five-part Cremaster cycle is a self-enclosed aesthetic system … a polymorphous organism of an artwork, continuously shifting guises and following its own eccentric set of rules”

Such is an apt descriptor of Barney’s multi-faceted body of works, including those both pre and post Cremaster cycle; Barney’s Guernica. The Cremaster cycle, Barney’s most instantly recognizable work, is a series of five self-referencing films, totaling approximately seven hours. Heavily laden in symbolism and socio-historical references, the films each feature a plethora of sub plots and allegories within the overall concept of the work; the resistance towards inevitable gender division.

Barney’s primary focus throughout his sculpture, installation, video and performative works is the human body and the processes through which it undergoes in order to differentiate itself into one of two genders, or in a narcissistic effort to self-fulfill; to close off the body as a singular detached entity. The Cremaster cycle, takes its title from the cremaster muscle; responsible for the initial descending or retracting of the testes determining human gender, a singular embryonic movement which Barney considers deeply relevant in terms of human physiological and societal development.

The narrative manifests itself in the Cremaster cycle not only in the re-telling of singularized elements of history, but literally in the way of text-like character development and the formation of allegories within the larger pastiche of the work; an assemblage of inseparable visual symbols speaking simultaneously about themselves and their larger framework. In a truly narrative sense, Barney maintains the work as a whole and attains closure in the creation of a central complexity; the event of gender division, that is finally resolved in gender separation and death. However, Barney subverts the traditionalism of his narrative structure in the production and release order of the films; 4, 1, 5, 2, 3, jarring time and comprehension for the viewer, enhanced only by the lack of auditory didacticism within the work; the films having only twelve total lines of dialogue.

Nancy Spector, author of Matthew Barney: The Cremaster Cycle articulates the chronological narrative progression of the films, noting Barney’s conceptual deviation; “Cremaster 1 represents the most “ascended” state, Cremaster 5 the most “descended”… as the cycle evolved … other paradigms, such as biography, history and codes of behavior, came to the fore as vessels of Barney’s narrative constructs.” Among a vast collective of historical tangents, Barney explores and performs the depiction of US murderer Gary Gilmore’s execution, the role of freemasonry in the 1930’s and Harry Houdini.

Endnotes

Nancy Spector. Matthew Barney: The Cremaster cycle. (New York: Guggenheim Museum, 2002). 4.


2 Nancy Spector. Matthew Barney: The Cremaster cycle. (New York: Guggenheim Museum, 2002). 30.

Bibliography

Spector, Nancy. Matthew Barney: The Cremaster cycle. New York: Guggenheim Museum, 2002.

Heartney, Eleanor. Art and Today. London: Phaidon. 2008.

Image References

Barney, Matthew. Cremaster 2 (production photo). 1999. Reproduced from http://www.mediaartnet.org/works/cremaster2/ (Accessed on May 4th 2009)

Barney, Matthew. Cremaster 1 (still-frame). 1995-6. Film still. Dimensions variable. Barbara Gladstone Gallery. Reproduced from Tate Online http://www.tate.org.uk/magazine/issue2/barney_image1.htm (Accessed on May 4th 2009)

Barney, Matthew. Cremaster Suite. 1994-2002. Detail from set of 26 color prints with
self-lubricating plastic frames. 111.8 x 86.4 cm. Albright-Knox Gallery. Reproduced from http://www.albrightknox.org/acquisitions/acq_2003/Barney.html (Accessed on May 4th 2009)

Time and Today- Yoko Ono and John Lennon

John Lennon & Yoko Ono
"On 15 June 1968, John Lennon and Yoko Ono planted two acorns for peace at Coventry Cathedral. The acorns were planted in east and westerly positions, symbolizing the meeting of the couple and the union of their two cultures. This was the first of many peace events that the couple would initiate throughout their lives."

“Caught the early plane back to London
Fifty acorns tied in a sack
The men from the press said ‘we wish you success
It’s good to have the both of you back.”
(The Ballad of John and Yoko, recorded by The Beatles, 1969.)

"Dear President and Mrs. Obama,

Enclosed is a pair of living sculptures called ACORN PEACE, which was what my husband, John Lennon, and I had sent to the world’s leaders forty years ago.
We asked that the acorns be planted for Peace, as seeds of Peace.
This year happens to be the 40th anniversary of that event, and I have decided that it is important to send the ACORN PEACE, again to the current world leaders.
I hope you will plant them in your garden so that they will grow into two strong oak trees for world peace.
With deep respect and love,

Yoko Ono Lennon."

All text and images: http://imaginepeace.com .... A blog, no less.

Note: The fortieth anniversary of this symbolic event presents Yoko with the opportunity to once again spread the message of peace, inviting 123 of the Worlds Leaders to join her. There is a lot said about her, I personally say she's wonderful. She attracted Lennon, by legend, through inviting him to view her work,a ladder. Lennon climbs the ladder and quite a way far from the floor, the word YES! appears. How beautiful. (This is also a play on time. And you may find many of her works, to be temporal, and worth having a look.)

The Double Fantasy record springs to mind and in the film clip for, either, Woman or Starting Over,their superimposed faces become uncanny and impossible to distinguish from each other over the film clips duration.

I only got deeply into the Beatles and Lennon recently, we had the Stones, who to mind are a little insubstantial. The story of Lennon and The Beatles almost baptismal. I now rant, that, a person can look everywhere for the right motivation and to do good things, say positive things, to help and understand, but putting it in Lennon's and even Ono's perspective really shake your guts up.

I'm still in that has-potential-to-be-good phase, kind of more a youngish Beatles in Hamburg where you don't know what will happen, you kinda just got a record deal. I have a record deal (!), but on the whole, becoming The Next Beatles is mildly disappointing for all concerned, it will never happen and to keep fooling yourself like that, is a waste.

As a remedy, Yoko says, lo and behold, the two acorns, and this is something, that You and I and Robert Mugabe, can truly be a part of, can grow with and enjoy, for the rest of the age, Look! These are the beetles that crawl up and down the thing.

I find this is closer to the heart, than any cavern club fantasy, twisting my Rock God panache into the Soulful Artiste, having been given a chance to be active and creative minded rather than bullshitting about the Cavern Club or the Annandale and doing nothing, or worse, talking crap and being all discontent and evil, not giving anyone even the time of day, while, still clinging to that vain notion of personal glory. These seeds make an important difference, even at the pub.

I'm truly grateful for Yoko Ono in life. She's my Matron Saint of Modern Art.

Paul McCartney does deserve a mention, though I can spot his lyrics from 40 yards. I wonder if he has any Acorn seeds?

http://imaginepeace.com
www.myspace.com/themeekband

Art & Narrative

Melanie Pullen is an American photographer from New York who is renowned for her work based on 1920’s NYPD and LAPD crime scene files.
Each of her pictures are stylized around real crime scenes derived from police records, in which high fashion attire and use of scenery draws the audiences attention away from the crime and focuses on the different aspects of the work until the victim is noticed and scenarios of how the murder came about is put into play.

Her photos have an aspect of fantasy to them as can be seen in "Blue Water" and "Dorothy", one looking like a murmaid and the other based of a fictional character.

http://www.artnet.com/artwork/424331796/blue-water-series.html

Art and Narrative- William Kentridge

William Kentridge is a south African artist born in Johannesburg.
Kentridge is best known for his animated films. These are constructed by filming a drawing, making erasures and changes and filming it again, inevitably constructing a story. In other words each object metamorphoses in order to create an almost living story board. Kentridge's works usually have a deep political undertone as he grew up in an area that had a brutalised society and experienced such things as the apartheid. His animated films develop the concepts of history, memory of his childhood, loss and renewal. These powerfully haunting black and white sketches create a dramatic animation that is overwhelmingly beautiful. I love his work!
Go to Youtube and check it out.

Art & Narrative - Marina Abramovic

Marina Abramovic (born 1946) has been working in the fields of performance and sculpture since the early 1970s. Much of her work is performance based and is inextricably linked with her own body and her own life experiences. She explores the limits of her own body in what are often physically and mentally grueling (and sometimes life threatening) performances in an attempt to reach a heightened state of awareness.

In 1998, Abramovic staged a performance biography at the Teatre Rialto in Valencia Spain. The work involved the restaging of past performances, whereby Abramovic explored the narrative of her artistic practice to date, as part of a larger autobiographical story that she performs with a deadpan brilliance. Biography (the title is telling of the narrative connotations) was the first time Abramovic had performed in a theatre, a situation she has previously avoided. Abramovic explained this decision, saying that the theatre situation reflected the idea that she was acting the part of herself in the past.

Also in researching Abramovic I found a quote where she discusses the idea of aura in art (which we previously covered on this blog). I thought her description was quite apt.

"When you see a Rothko painting, you may not even know what colors it’s made of, but as you stand in front of it, it acts in a way that you cannot define rationally. A good work of art should make you turn around when you’re not looking at it, the same way as you can feel somebody looking at you when you’re sitting in a restaurant. You’re not sure, but you turn around and there is really somebody there. That energy is really beyond cultures . . . " - Marina Abramovic

Art and Narrative - Vanessa Beecroft

Vanessa Beecroft 

Beecroft uses performances of the body, usually 

consisting of nude or semi-clothed women. 

She uses time and space to create the narrative

and through recording, such as photography 

and films, the installations become a 

documentary of Beecroft's main concept of 

feminism, as seen in VB 53 2002 (below). Eleanor

Heartly refers to fantasy and i thought that 

Beecroft's works fitted with narrative in this 

way, as Beecroft's works usually take the 

audience into another world. 

Art & Narrative - Faith Chung

in attempts to fulfill this weeks blog i will most probably do the wrong thing once again but be assured it will still be interesting none the less

Faith Chung is a 22 year old Singaporean artist who creates narratives through staged instillation scenes using mid sized dolls and documented performance pieces.

the two works "...waiting" and "La Mort Du Ballon Rouge" (The Death of the Red Balloon) are examples of her installed pieces.
a documentation of one of her performances can be found at (http://fc05.deviantart.com/fs43/f/2009/124/8/1/22_but_still_a_baby_bear_by_blackpaperbag.jpg)

although at this point i should try to expand on the narratives shown i won't because personally i believe that each responder brings their own reading to a semi-ambiguous narrative such as this and thus trying to explain it would damage the possibility of your own reading coming about

Story telling is a powerful engine for human expression.[1]

Artist Eva Koch is exhibiting Headwind at SCA and is the perfect example of art and the narrative. Headwind is an installation consisting of two screens that are facing each other. Both are short films that a continuously repeated. They are telling the story of Augusta, a woman standing on an isolated landscape in Denmark. Who is watching and waiting for her family who she left behind in Greenland, to appear in the distance. One screen is of Augusta and the other screen is of her siblings and their families journeying towards her from Greenland. Koch has left this open ended and ambiguous allowing the audience to interpret it in many ways.[2]For me Koch’s story is about life journeying onwards and life coming to an end. I can feel Augusta’s fear of death and urgency, the young families hope and energy. If any of you decide to go and see this exhibition which is easy to see and not to mention free, then I recommend you pick up the artist’s notes on this haunting and personal story telling which we all can relate to.

I also wanted to mention that after reading the chapter for this week, it brought back memories of 2007. When I was fortunate enough to see Sophie Calle’s Take Care of Yourself at the Venice Biennale. If any of you aren’t familiar with this installation then you should read up on it. It was fascinating and one of the best pieces on display. The general idea of the work was an email Calle had received from her boyfriend, leaving her. His last line was Take Care of Yourself. The installations include a hundred women who read the email individually with their own interpretations. This artwork is a strong narrative and clever, because it affects most of us. We think about our own stories of love, when we have hurt others or been hurt. We reflect on our decisions and hopefully become a better and kinder person because of it.

1. Eleanor Heartney, Art and Today. (London: Phaidon Press Limited, 2008), 122.

2. Eleanor Heartney, Art and Today. (London: Phaidon Press Limited, 2008), 127.

Art and Narrative

Title: Untitled 2001

Gregory Crewdson is a photographer who stages fictional and surreal tales of modern American suburbia. Each photo uses large crews and props, like cranes and lighting rigs, in order to obtain a dreamlike effect. His photos capture moments in which his subjects appear in a trance or being moved by strange forces. Unitiled 2001, depicts a woman who floats across her flooded living room. The details in this image planned and staged, especially the lighting, to create the effect. In some of his other photos special effects and extra lighting are used to create a natural moment.

Art & Narrative : Dominique Gonzalez-Foerster

Petite, 2001, installation

Dominique Gonzalez- Foerster is a media and installation artist whose works read as fragmented narratives. Her installation works generally draw on figures from literature, film, imagination and life experiences to create the atmospheric environments that flow like narratives open to an audiences interpretation. In this sense the viewer plays a major role in the reading of the artwork this way. 

" I want to transform the viewer into a detective, generate a seeking spirit for a research, a curiosity for other stories unless it is one's own: to stress the importance of all kinds of narratives as self-languages, and the value of all clues or vocabularies." - Gonzalez-Foerster.

 I thought her works clearly related to the ideas presented by Heartney.

Art and Narrative

Revenge of the Goldfish, 1981, installation work

When researching different artists i came across the artist Sandy Skoglund. I thought his works were really interesting and humorous and they fit in with Heartneys views on narrative of fantasy and creating alternate universes. I found the chapter in the book really interesting just looking at how the concept of narrative has evolved over the years. This artists works mainly with installation all his works incorporating the imaginative and surreal i came across him on the website artandculture.com which is really useful when looking for new interesting artists.

An Australia Japan Match Box Project: Sydney Tokyo Nagoya: People to People, Place to place (Narrative)

This continuing collaboration between new and established artists from both japan and Australia is rather intriguing for the concept of narrative. all works are small in size and sent to japan then an exchange is made and work is sent to Australia and then sent back and so forth. creating a narrative from both the works that are made and the journey they go on. various other exchanges have been made aswell. It has been going since 2006  until today and remains an ongoing project. 

www.matchboxprojects.com   

Jamie Boyd- A Lifetime of Paintings

EXHIBITION & NARRATIVE

I attended the opening of this exhibition to see Jamie's sister Polly who lives in my hometown in Victoria. The exhibition was quite conservative and consisted of iconic australian landscapes. Among these included paintings of where Jamie grew up which I thought fitted into the theme "Art and Narrative".  Now living and working in London, I assume that this type of artwork does slightly better over there than it would here because of the cultural differences. The work I liked the best was a nude which was painted in a much more gestural and expressive way to the others. The height of the exhibition for me was the copious amount of free champagne as well as meeting Reg Mombassa (the Mambo guy).

Art and Narrative- Doug Aitken

Image 1: Doug Aitken, Sleepwalkers, 2007. Seven-channel outdoor video installation with digital video players, dimensions variable. The Museum of Modern Art, New York.

Doug Aitken is an American artist born in 1968. His artworks reflect contemporary life through hypnotic, hyperreal installations.
One of his largest installations titled Sleepwalkers, involved eight gigantic moving images that were projected onto various facades of The Museum of Modern Art in New York[1]. The 2007 installation follows the private journeys of five nocturnal New York inhabitants who live in solitude and separation, however still exist in loose synchronicity. The narrative opens as the sun sets and the characters wake and begin their mundane daily rituals. Their activities eventually progress to become extremely bizarre and fictional, removing them from any reality.

Image 2: Doug Aitken, Sleepwalkers, 2007. Seven-channel outdoor video installation with digital video players, dimensions variable. The Museum of Modern Art, New York.

Eleanor Heartney refers to the postmodern narrative as “subtly signaling the viewer that the stories they tell may be biased, incomplete, or completely fictional”[2]. Each aspect of Sleepwalkers has a degree of concealment, making it difficult for the audience to believe the characters’ lives are portrayed truthfully.
French literary critic Roland Barthes, mentioned by Heartney, explored the idea that any lucidity that emerges from a work isn’t due to the creator but the audience who engage and activate the work. So as Sleepwalkers progresses, becoming more abstract and fictional, the artist is hinting that the artwork has a deeper intention than to document these bizarre character’s lives, however that deeper meaning is for the viewer to determine.

Image 3: Doug Aitken, Into the Sun, 1999. Colour Film transferred to 4 channel digital video installation, sound and architectural environment, 7min cycle.Victoria Miro Gallery, London.

One of Aitken’s earlier works Into the sun began when Aitken traveled to Mambai, India and photographed various aspects of the Indian Film industry[3]. The end product was a chaotic montage of thousands of Bollywood film stills, photographs of Bollywood films sets and the Indian actors. The photographs shot in sequence shift pace sometimes at a dizzying rate. This paired with a disjointed soundtrack of production noise, acts as a narrative that embodies fast-paced Indian culture. The installation is a comment on the mass-proliferation of the moving image in Bollywood. Aitken’s use of found footage brings into play the idea of authorship and originality. However Aitken brings a new life and cadence to these films and the culture they are produced in. He creates this work to move with such anarchy and unrestrained speed that it feels inevitable it will implode.

Heartney notes how film art often “withholds the emotional satisfaction audiences..come to expect..from the movies”[4]. Both Into the sun and Sleepwalkers have no beginning and no end. Instead his artworks exemplify the rebirth of narrative art as a disjointed sequence of familiar images that generate an intense physiological charge, that the viewers are inevitably drawn to.

[1] Doug Aitken et al., Doug Aitken : Sleepwalkers (New York: Museum of Modern Art in association with Creative Time, 2007), 9.
[2] Eleanor Heartney, Art & Today (London: Phaidon, 2008), 122.

[3] Daniel Birnbaum et al., Doug Aitken, (London ; New York: Phaidon, 2001), 67.

[4] Eleanor Heartney, Art & Today, 128.

Bibliography:

Aitken, Doug, Emily Hall, Museum of Modern Art (New York N.Y.), and Creative Time Inc. Doug Aitken : Sleepwalkers. New York: Museum of Modern Art in association with Creative Time, 2007.

Heartney, Eleanor. Art & Today. London: Phaidon, 2008.

Birnbaum, Daniel, Amy Sharp, Jörg Heiser, and Doug Aitken. Doug Aitken. London ; New York: Phaidon, 2001.

Images:

Image 1&2: Aitken, Doug. Sleepwalkers, 2007. Seven-channel outdoor video installation with digital video players, dimensions variable. The Museum of Modern Art, New York. Reproduced by Fredrick Charles, Doug Aitken : Sleepwalkers (New York: Museum of Modern Art in association with Creative Time, Doug Aitken, Emily Hall, 2007.), 6-15.

Image 3: Aitken, Doug. Into the Sun, 1999. Colour Film transferred to 4 channel digital video installation, sound and architectural environment, 7min cycle.Victoria Miro Gallery, London. Reproduced by Pacific Film Archive, Doug Aitken (London ; New York: Phaidon, 2001.),16-18.