MAY 13 – NOVEMBER 5, 2011

In Untitled (Pink Dot), Murata transforms footage from the 1982 Sylvester Stallone film Rambo: First Blood into a morass of seething electronic abstraction. Subjected to Murata’s meticulous digital reprocessing, the action scenes decompose and are subsumed into an almost palpable, cascading digital sludge, presided over by a hypnotically pulsating pink dot.

In Michael Bell-Smith’s Battleship Potemkin Dance Edit (120 BPM), the artist uses digital forms to explore contemporary visual culture and how it is mediated through popular technologies. Remixing and reinterpreting sources ranging from industrial videos and music clips to classic cinema and contemporary art, Bell-Smith reconsiders the cultural meaning of these materials in a “post-personal computer, post-Internet, post-Google” age.

Bell-Smith refers to his re-edit of Eisenstein’s iconic 1925 film The Battleship Potemkin as a “sort of Cliff Notes condensation of the original narrative. I’ve separated the film into its constituent shots and time stretched them one by one to the exact same length, one half of a second. I then replaced the soundtrack with a one-second dance loop synced to the cuts.”

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