Between 1 & 0, 1993
Two-channel video/sound installation
Thirteen modified 14-inch black-and-white video monitors (cathode ray tubes removed from chassis), aluminum structure, two speakers, computer with controlling software written in DOS, computer-controlled video switcher utilizing three inputs and thirteen outputs, two laserdisc players and two laserdiscs (black-and-white; mono sound)
Dimensions: 78 h. x 72 w. in. (198 x 182 cm.)
Edition of two and one artist’s proof
Using a micro hand-held camera, the artist recorded his own body, scanning himself at extreme close-up range. The images are switched horizontally and vertically on thirteen monitors mounted on an aluminum structure and appear as if they are being rubbed or etched onto the screens. The configuration of the monitors might suggest a Greek cross, a first aid sign, or the mathematical plus sign, all of which never quite materialize as an image. Only two images are actually “on” at any given time, but through the rapid switching of the images (30 frames per second), the afterimage effect constructs extended images of body parts – legs, arms, lips, a single finger, hairs, etc. – that flow back and forth, up and down, on several screens at once. The intersection at the center suggests the cross hairs of a looking device attempting to locate a point or marker on the body from where one can begin. The sound of graphite being scribbled follows the switching movement of the images, thus reinforcing a physicality that is at once extremely close and yet untouchable.
An example of this work was first exhibited in a solo exhibition at the Donald Young Gallery, Seattle, Washington, January 29 – March 12, 1993.
“Passageworks,” Rooseum, Malmö, Sweden, April 27 – July 25, 1993.
“1993 Whitney Biennial in Seoul,” National Museum of Contemporary Art, Seoul, Korea, July 30 – September 8, 1993.
“Gary Hill: In Light of the Other,” Museum of Modern Art, Oxford, England, November 7, 1993 – June 9, 1994; The Tate Gallery, Liverpool, England, February 26 – May 2, 1994.
“Space, Time and the Viewer: Installations and New Media in the IVAM Collection,” IVAM (Institut Valencia d’Art Modern), Valencia, Spain, September 26, 2006 – February 4, 2007.
“From Picasso to Gary Hill,” MAC Museu de Arte Contemporânea Centro Dragão do Mar de Arte e Cultura, Fortaleza, Ceará, Brazil, July 12 – August 29, 2010.
“In Transit,” IVAM, Institut Valencià d’Art Modern, Valencià, Spain, January 15 - August 30, 2015.
Mignot, Dorine. Gary Hill. Amsterdam: Stedelijk Museum; Vienna: Kunsthalle Wien, 1993, pp. 8, 9.
Gary Hill: In Light of the Other. Oxford: Museum of Modern Art Oxford; Liverpool: The Tate Gallery Liverpool, 1993, pp. 5, 9, 10, 28 – 31.
Smallwood, Lyn. “Gary Hill’s skin flicks.” Seattle Weekly (March 3, 1993).
Slemmons, Rod. "Gary Hill. Under New Skins." Reflex (May/June 1993), p. 13.
Barcott, Bruce. "Donald Young Gallery, Seattle." New Art Examiner, Chicago 20 (May 1993), p. 51.
Frejlif, Bengt. “Passagearbeten.” Beckerell 3 (Summer 1993), p. 35.
Failing, Patricia. “Donald Young Gallery, Seattle.” Artnews 92 (September 1993), p. 182.
Cornwell, Regina. “Interview to Gary Hill.” Art Monthly 170 (October 1993), p. 9.
Bruce, Chris. Gary Hill. Seattle, Washington: Henry Art Gallery, University of Washington, 1994, pp. 35, 80, 85 – 89.
Drake, Chris. “Gary Hill, Museum of Modern Art, Oxford.” Frieze 14 (January/February 1994), pp. 54, 56.
Haynes, Rob. “In Light of the Other.” The Big Issue (March 29 – April 4, 1994), p. 11.
Lestocart, Louis-José. “Gary Hill: Surfer sur le medium / Surfing the Medium.” art press 210 (February 1996), p. 20.
Quasha, George and Charles Stein. Tall Ships. Gary Hill’s Projective Installations 2. Barrytown, New York: Station Hill Arts, 1997, pp. 51, 54.
Stals, José Lebrero. Gary Hill: HanD HearD – Withershins – Midnight Crossing. Barcelona: Museu d’Art Contemporani de Barcelona, 1998, pp. 9, 12.
Der elektronische Raum: 15 Positionen zur Medienkunst. Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Dueuschland, 1998, p. 156.
TV Dinner No. 2 at The Kitchen: Gary Hill and Meg Stuart. Program notes. New York: The Kitchen, 1998, unpaginated.
“Liminal Performance: Gary Hill in Conversation with George Quasha and Charles Stein,” PAJ (Performing Arts Journal) No. 58, Vol. XX, No. 1 (January 1998), p. 24.
Chung, Yong-do. “Gary Hill: New Art Language Marking History of Reason. ” Art, Korea (October 2000), p. 143 (in Korean).
Morgan, Robert C., ed. Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 141 – 146, 229, 232, 266.
Gary Hill en Argentina: textos, ensayos, dialogos. Buenos Aires: Centro Cultural Recoleta, 2000, p. 40.
Gary Hill: Instalaciones. Córdoba: Ediciones Museo Caraffa, 2000, p. 52.
Quasha, George and Charles Stein. La performance elle-même in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, p. 75.
Gary Hill: Selected Works and catalogue raisonné. (Wolfsburg: Kunstmuseum Wolfsburg, 2002), GHCR 76, pp. 168.
Instalaciones Y Nuevos Medios en la Colección del IVAM: espacio, tiempo, espectador. (In English and Spanish). Valencià: IVAM Institut Valencia d’Art Modern, 2006, pp. 194 – 197, 292.
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 489, 542 – 545, 569.