GARY HILL

An example of this work was first exhibited in a solo exhibition entitled “Gary Hill:  The Performative Image,” at WATARI-UM, The Watari Museum of Contemporary Art, Tokyo, Japan, September 1, 2000 – January 14, 2001; Towers Plaza Hall, Nagoya, Japan, February 3 – 17, 2001.

“The 46^th Biennial Exhibition:  Media/Metaphor,” The Corcoran Gallery of Art, Washington, DC, December 6, 2000 – March 5, 2001.

Group exhibition.  Donald Young Gallery, Chicago, Illinois, January 19 – March 3, 2001.

Solo exhibition. The Winnipeg Art Gallery, Winnipeg, Manitoba, Canada, January 25 – April 29, 2001.

49. International Art Exhibition, La Biennale di Venezia, Venice, Italy, June 9 – November 14, 2001.

“Gary Hill,” 13^th Videobrasil Electronic Art International Festival, São Paulo, Brazil, September 19 – October 21, 2001.

“Gary Hill:  Selected Works,” Kunstmuseum Wolfsburg, Wolfsburg, Germany, November 10, 2001 – March 10, 2002.  Travelled to: Centro Cultural de Belém, Lisbon, Portugal, October 10, 2002 – January 12, 2003.

“New Frontiers,” Art Association, Jackson Hole, Wyoming, January 11 – March 1, 2002.

Solo exhibition.  Handwerker Gallery, Ithaca College, Ithaca, New York, March 4 – April 7, 2002.

“Visitors,” Konsthallen Bohusläns, Uddevalla, Sweden, March 16 – May 29, 2002.

“Acquisitions 2001 – Part 1:  Photographs, Video-Installations, Video,” EMST National Museum of Contemporary Art, Athens, Greece, March 21 – May 18, 2002.

“Self-Portraits from the collection of Bill and Ruth True,” The Wright Exhibition Space, Seattle, Washington, May 1 – August 31, 2002.

“Ommegang-Circumflexion,” Brugge 2002, Roeselare, Belgium, August 9 – September 22, 2002.

“Gary Hill:  Language Willing,” Boise Art Museum, Boise, Idaho; December 11, 2002 – February 16, 2003; Arizona State University Art Museum, Tempe, Arizona, October 25, 2003 – January 18, 2004; Northwest Museum of Arts & Culture, Spokane, Washington, March 4 – June 20, 2004; Art Gallery of Nova Scotia, Halifax, Canada, July 17 – September 19, 2004; Salt Lake Art Center, Salt Lake City, Utah, October 15, 2004 – January 16, 2005.

“Body Matters,” The National Museum of Contemporary Art, Oslo, Norway, January 11 – March 11, 2003.

“Gary Hill:  Selected Works 1973 – 2003,” Museum of Contemporary Art, Taipei, Taiwan, May 2 – August 24, 2003.

“Gary Hill:  Wall Piece,” Katherine E. Nash Gallery, University of Minnesota, Minneapolis, Minnesota, February 24 – April 8, 2004.

“Image, Body, Text:  Selected Works by Gary Hill,” San Francisco Museum of Modern Art, San Francisco, California, March 24 – May 30, 2005.

“River Styx,” Western Bridge, Seattle, Washington, May 28 – September 24, 2005.

“Praying for Silence,” Kunstverein Ludwigsburg, Germany, July 8 – September 4, 2005.

“re:currents,” Fosdick Nelson Gallery, School of Art and Design, Alfred University, Alfred, New York, October 21 – December 2, 2005.

“18:  Beckett,” Blackwood Gallery, University of Toronto at Mississauga, Ontario, Canada (traveling exhibition); November 8 – December 21, 2006; Walter Phillips Gallery at The Banff Centre for the Arts, Banff, Alberta, Canada, March 31 – May 27, 2007.

“Space:  Places of Art,” Akademie der Künste, Berlin, Germany, February 18 – April 22, 2007.

“Art of Limina: Gary Hill,” Slought Foundation, Philadelphia, Pennsylvania, March 21 – May 1, 2009.

“Gary Hill: Up Against Down,” Christchurch Art Gallery, Christchurch, New Zealand, May 23 – August 23, 2009.

“Gary Hill: o lugar sem o tempo / taking time from place,” Oi Futuro, Rio de Janeiro, Brazil; July 20 – September 6, 2009.

“Vortexhibition Polyphonica,” Henry Art Gallery, University of Washington, Seattle, Washington, October 3, 2009 – Summer 2010.

“Gary Hill: Circumstances/Circunstâncias,” MIS - Museu da Imagem e do Som, São Paulo, Brazil, January 19 – March 21, 2010.

“Gary Hill: Viewer,” GMG Gallery, Moscow, Russia, June 21 – 30, 2010.

Festival Temps d’Images, Museu do Chiado – Museu Nacional do Arte Contemporâne, Lisbon, Portugal, October 15 – November 21, 2010.

“The Frustration of Expression,” The Center for Photography at Woodstock, New York, November 13 - December 23, 2010.

“Everything Changes,” DNA Galerie, Berlin, Germany, January 30 - March 31, 2011.

“Undeniably Me,” Galerie Rudolfinum, Prague, Czech Republic, May 25 – August 14, 2011.

“Wall Piece,” Kunstverein Ruhr, Essen, Germany, June 18 – July 31, 2011.

“Projecting Identity,” Drake University, Des Moines, ID, November 9, 2012 – December 14, 2012.

“Gary Hill – Solo Exhibition,” The Center for Contemporary Art, Tel Aviv. Isreal, November 22, 2012 – January 21, 2013.

Beijing Media Art Biennale, CAFA Art Museum, Beijing, China, September 25, 2016 — October 9, 2016.

"Monster Club," Asia Culture Center, Gwangju, South Korea, November 24, 2016 — February 26, 2017.

"Gary Hill: Always Rings Twice," WEST, Den Haag, The Netherlands, February 16 – May 13, 2018

“We Play, We Stage, And We’re Enacting,” Palbok Factory of Contemporary Arts, Jeonju, S. Korea, December 8, 2018 — January 6, 2019

"The Wall and Other Stories," Total Museum of Contemporary Art, March 28 — May 19, 2019.

"Gary Hill: Momentombs," Suwon Art Museum, Suwon, Korea, November 26, 2019 — March 6, 2020.

"Gary Hill: Continuous Happening," Art Museum of Guangzhou Academy of Fine Arts, Guangzhou, October 23 - December 8, 2024.

Gary Hill:  The Performative Image.  Tokyo:  Gary Hill Exhibition Committee, 2001, unpaginated.

The 46^th Biennial Exhibition:  Media/Metaphor.  Washington, D.C.:  The Corcoran Gallery of Art, 2001, www.corcoran.org/biennial (on-line catalogue)

Shaw-Eagle, Joanna.  “Corcoran exhibit is varied metaphor.”  The Washington Times (December 9, 2000), pp. D1, D5.

Lewis, Jo Ann.  “The Biennial’s Grand Illusions.”  The  Washington Post (December 10, 2000), pp. G1, G6 – G7.

Rowlands, Penelope.  “Gary Hill’s Hall of Mirrors.”  ARTnews 100, 5 (May 2001), pp.  176 – 177, 179.

49. Esposizione Internazionale d’Arte, La Biennale di Venezia. Vol. I.  Venezia:  La Biennale di Venezia, 2001, pp. xxiv, 90 – 91.

Vendrame, Simona.  “A Bridge Towards the Future.” tema celeste 86 (Summer 2001), pp. 44 – 49.

Soutif, Daniel.  “Pick to Click.”  Artforum XL, 1 (September 2001), pp. 160 – 161.

McAlear, Donna, ed.  Gary Hill.  Winnipeg:  The Winnepeg Art Gallery, 2001, pp. 12 – 13, 17 – 26, 29 – 43, 59 – 63.

Von Zeipel, Agneta.  Visitors.  Uddevalla:  Konsthallen Bohusläns, 2002, unpaginated.

Bers, Miriam.  “Gary Hill:  Kunstmuseum Wolfsburg.”  tema celeste 90 (March / April 2002), p. 92.

Gary Hill:  Selected Works and catalogue raisonné. Wolfsburg:  Kunstmuseum Wolfsburg, 2002, pp. 29, 30, 206, 240 – 241.

Thély, Nicolas.  “Gary Hill:  Vidéographe.”  Beaux Arts 213 (February 2002), p. 36.

Ommegang Circumflexion.  Brussels:  Phidias, 2002, unpaginated.

Quasha, George.  Gary Hill:  Language Willing.  Barrytown, NY:  further/art and Boise: Boise Art Museum, 2002, pp. 7, 10 – 21, 24, 30, 44.

Oland, Dana.  “Art at the point of impact.”  The Idaho Statesman (December 14, 2002), pp. Life section, 1, 14.

Schnoor, Chris.  “Re-Thinking the Image:  Video Art by Gary Hill at Boise Art Museum.”  BoiseWeekly 11, 29 (January 22 – 28, 2003), pp. 13 – 16.

Kroksnes, Andrea.  Body Matters.  Oslo:  The National Museum of Contemporary Art, 2003, pp. 22 – 23.

Unfolding Vision:  Gary Hill, Selected Works 1976 – 2003.  Taipei:  Museum of Contemporary Art, 2003, pp. 18, 54 – 56.

Collins, Gina Cavallo.  “Projection Artist.”  Phoenix New Times (November 13, 2003).

Schnoor, Chris.  “Thinking the Image:  Gary Hill at ASU Art Museum.” Shade (October / November 2003), pp. 23 – 25.

Diez, Renato.  “Gary Hill:  Immagini contro parole.”  Arte 380 (April 2005), pp. 98 – 104.

Praying for Silence.  Ludwigsburg:  Kunstverein Ludwigsburg, 2005, unpaginated. Brochure.

Gary Hill:  Resounding Arches / Archi Risonanti. (Catalogue and DVD.)  Rome:  Ministero per i Beni e le Attività Culturali Soprintendenza archeologica di Roma, and Milan:  Mondadori Electa S.p.A., 2005, pp. 29 - 31.

18: Beckett.  Mississauga:  Blackwood Gallery University of Toronto at Mississauga, 2006, pp. 18 – 19, 27, 65 – 66, 75.

Grassi, Andrea.  “Blackwood Gallery opens new exhibit, 18:  Beckett,” The Medium University of Toronto (November 13, 2006), p. 7, 10.

Rogerson, Stephanie.  “Inspired by Beckett.”  NOW Magazine, Toronto (December 14, 2006).

RAUM.  Orte der Kunst.  Berlin:  Akademie der Künste, pp. 294 – 295, 375.

Scott, Carrie E.A. “Methodical Man.” Seattle Weekly (August 15 – 21, 2007), p. 42.

Quasha, George and Charles Stein.  An Art of Limina:  Gary Hill’s Works and Writings.  Barcelona: Ediciones Polígrafa, 2009, pp. 27, 37, 56, 353 – 355, 361, 362, 364, 371, 453, 599, 605.

Ramos, María Elena.  Gary Hill.  Caracas:  Centro Cultural Chacao, 2009 (in Spanish), pp. 8.

Copeland, Colette.  “Video Rhetoric.” Afterimage, 37, 1 (July/August 2009), pp. 30 – 31.

Alzugaray, Paula.  “Sob Os Holofotes.”  Istoé (July 22, 2009), pp. 110 -111.

Molina, Camila.  “Cinco confrontos com Gary.” Caderno 2, Sao Paolo (July 20, 2009), p. D1.

Torres, Bolivar.  “Plugado no apagamento do ritmo e dos corpos.” Jornal Do Brasil,  Caderno B (July 19, 2009), p. B2.

Velasco, Suzana.  “Linguagem Física.” O Globo. (July 20, 2009), p. 1 (Segundo Caderno).

Gary Hill: o lugar sem o tempo / taking time from place. Rio de Janeiro: Contra Capa Livraria / Mag Mais, 2009, pp. 14, 15, 30 – 45, 67 – 75.

Gary Hill: Viewer. Moscow: GMG Gallery, 2010 (in Russian and English), pp. 16, 17, 18, 19, 30, 31, 32, 33, 44 – 47.

Falemos de casas: Quando a arte fala arquitectura / Let’s Talk About Houses: When Art Speaks Architecture.  Lisbon: Athena / Museu do Chiado, 2010 (in Portuguese and English), pp. 68 – 73.

Note: This text is excerpted from a text written by the artist in 1996 and first used in Reflex Chamber, 1996.

© 1996 by Gary Hill

A word is worth .001 pictures. To be transfixed is no longer an option. I am in a way blind. I live time through a succession of pictures I’ve known since when. But it’s precisely this when that haunts – it eats out the looking cavities and smiles inward like a Cheshire cat. What I might name as “the immediate surroundings” has all but vanished.  I have no place. No feet. I’ve lost the vague idea of limbs. Legs feel more like logs arranged for a fire. I remember a dream of holding the other’s heart in my hand; for a moment I live the pulse of another being. Then it was over and I gave it away to a hungry animal. Lush sensations have ceased. I have no mouth, no scream, no voice within. I only listen to an imaginary sound I might make.  I am supersonic and alien. I have the feeling of being a fuselage. Am I walking? Sitting in a chair? Killing? Eating? Could it not be any of these things – any and all simultaneously? Where am I? I can’t remember at will. It can only be described as something holy for fear of something completely other. Parts come back not quite like what was before but the connection is certain.  A few switches flipped – that’s it. The wherewithal generator is next to close by – it’s happening right before my hands. I’m synthesized. Thought that won’t let go brings to mind the terrifying possibility – it’s only words that separate things. I feel abandoned by the real, leaving what’s left. I’m going, watching myself go. Everything’s changing speed – backing into itself. The effect mesmerizes.  Movement eludes me. I’m paralyzed. Waiting awaits what’s left. It’s doing exactly what it says. No question. No questions. Circumstance is at a standstill. Things have exited. If I go everything else will follow, I know it. It knows it. There is nothing to leave. Nothing. Difference exists only through sound; a wall of sound. Can I go through it? Can I go through with it?  Where is it now, where does it reside? What does it feed on? Why does it flicker? Nothing approximates its speed. It’s something from the outside. Way outside. I didn’t think this. This is not me. I’m not accountable.  It wasn’t thought out. It has no relation to thought. This is that hole that everything must pass through. I’m going now before it comes. Will I know when it comes? Will it approach with signals?  Will there be a moment of recognition? Is that when I am it? Am I simply tapping myself on the shoulder? What is the point? It’s always there; on again; on again. It waits without pathos. Waiting is human. This point wants to show me something inhuman. It wants to bring me to my knees. It wants me to pray, it wants me to see through seeing, it wants me to act like knowledge. It wants acknowledgment. It wants me completely at the edge. It burrows itself in, blows up and begins again plural------Points. Cells.