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On
January 23, an exhibition entitled The Times of a Place, curated
by Neus Miró, opened at the CDAN. The show, which occupies the entire
exhibition space of the building created by Rafael Moneo, brings
together the work of nine artists who reflect on the passage of time in
landscape. The exhibition will remain at the CDAN until March 29.
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The
works included in the exhibition refer to landscapes that ultimately
develop and reveal themselves as places. These places in turn become
time capsules, where events accumulate, and where the observer’s gaze
brings to life the possible pasts that linger there.
Artists in the exhibition
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Melik Ohanian, Invisible Film.
The
artist recovers the film Punishment Park by Peter Watkins and
re-contextualises it in the present. The sound is separated from the
image, which is projected in the air so the viewer sees the scene
where the film was made.
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James Benning, Casting a Glance. Benning’s film focuses on an
earthwork by Robert Smithson entitled Spiral Jetty. The film
is divided into 16 sequences, one for each time the artist visited
Smithson’s sculpture.
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Stan Brakhage, Creation.
In
this film the artist records a visit to the glaciers of Alaska. The
fact that Creation is a silent film focuses the viewer’s
attention on the visual aspect. Gradually views of chunks of ice
give way to views showing fragments of earth, trees and birds, and
even a woman appears on screen.
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Patricia Dauder, Les Maliens (a film).
The
creator of this film approaches and films a landscape that is alien,
unknown, or at least known only through the media or literary
references.
Les
Maliens
presents a series of fixed shots showing a particular place over a
period of time.
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Chris Welsby, Seven Days.
Welsby’s work strikes a balance between technology and nature. The
film was made in Wales and shot over seven consecutive days. Each
day starts with the sunrise and ends when the sun goes down. The
camera was mounted on an equatorial stand, a piece of equipment used
by astronomers to track the stars.
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Darren Almond, A. This film is divided into three episodes.
The first records the journey to the place; the second shows the
landscape encountered there and the aggressive nature of ice; and
the third reflects the hallucinogenic state this environment can
induce after one is immersed in a completely different set of
spatial and temporal parameters.
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Beryl Korot, Dachau 1974. This video work explores a place:
the architecture of what was Nazi Germany’s first concentration
camp. All the images included in the installation are taken from a
video recording made by the artist in 1974. The work presents fixed
shots from very specific positions and makes no effort to avoid
images of tourists passing by.
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Robert Smithson, The Spiral Jetty. The Spiral Jetty should be
seen as a work in its own right rather than simply a film
documenting the earthwork of the same title created by Smithson.
Film becomes another possible place, a parallel place.
-
Tacita Dean, Banawl.
The
artist's intention was to capture a solar eclipse – a natural but
extraordinary event – in real time. The weather, however, failed to
cooperate, and the eclipse can only be seen in part. The film uses a
series of shots to show changes in the light before, during and
after the eclipse.
More information
Source: texts and photographs, CDAN.
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