JAVA Mar-2019
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one to the next or devote a few minutes to each. These images, unlike<br />
painting, seem to morph in time endlessly.<br />
The animations on view by Christian <strong>Mar</strong>clay provide one such example.<br />
At first, each work seems to be a catalog of images: chewing gum, bottle<br />
caps, cigarette butts. Minutes in, the images start to transform into<br />
playful flipbook narratives. The blotches of chewing gum on the sidewalk<br />
split and multiply like a culture of microscopic cells. The bottle caps of<br />
different colors and brands seem to remain still on an ever-changing<br />
ground. The cigarette butt slowly inches back up to completion, only to<br />
dwindle down again.<br />
Simpson Verdict, a short animated video by Kota Ezawa, is based on footage<br />
from the O.J. Simpson trial. The audio of the verdict, playing from a<br />
speaker above, is stark against the cartoonish and flattened image of<br />
Simpson’s response to the verdict. The trial was a media event – even if<br />
you didn’t particularly follow it, you knew about it. The video speaks to<br />
the way reality is rendered and compressed by popular culture.<br />
Candice Breitz’s large-scale video installation in the next room, Love<br />
Story, similarly approaches media imagery. The setup itself is like a movie<br />
theater. In separate clips, Alec Baldwin and Julianne Moore appear on<br />
set in front of a green screen, each telling tidbits of an emotional<br />
tale of escape. Almost immediately, we know they are acting, but the<br />
question is: As who? Behind this Hollywood rendition is another set of six<br />
screens and narrators who are refugees, but here they are telling their<br />
own unedited stories. Only when the curtain is pulled back completely do we<br />
have the opportunity to truly empathize.<br />
“Now Playing: Video 1999–<strong>2019</strong>”<br />
Scottsdale Museum of Contemporary Art<br />
Through May 12<br />
smoca.org<br />
Candice Breitz, “Stills from Love Story,” 2016, Featuring Julianne Moore and Alec Baldwin<br />
Top: Shabeena Francis Saveri, Sarah Ezzat <strong>Mar</strong>dini, Mamy Maloba Langa / Bottom: José <strong>Mar</strong>ia<br />
João, Farah Abdi Mohamed, Luis Ernesto Nava Molero.<br />
7-Channel Installation, Commissioned by the National Gallery of Victoria, Outset Germany + Medienboard Berlin-Brandenburg<br />
Courtesy: Goodman Gallery, Kaufmann Repetto + KOW<br />
<strong>Mar</strong>k Bradford, “Practice,” 2003, single channel video; Courtesy of the artist and Hauser & Wirth<br />
Song Dong (b. 1966, Beijing, China, where he lives and works)<br />
“Floating: Scottsdale,” 2005, Video projection, Duration: Left screen 21:38, right 17:16<br />
Collection of Scottsdale Museum of Contemporary Art<br />
Purchased with funds from Mai Yahn, Richard Hayslip and Sara and David Lieberman<br />
Mika Rottenberg, “Sneeze,” 2012, Single channel video; Courtesy of the artist and Hauser & Wirth.<br />
Kota Ezawa, “The Simpson Verdict” (still), 2002; Courtesy of the artist and Haines Gallery, San Francisco<br />
Diana Thater, “Orange Room Wallflowers,” 2001; Courtesy of the artist and 1301PE, Los Angeles<br />
<strong>JAVA</strong> 19<br />
MAGAZINE