Mediations (towards a remake of Soundings), 1979/1986
Video (color, stereo sound); 4:17 min.
Color video camera/recorder, two microphones, audio mixer, speaker and sand
“The beginning of a remake of an earlier work [Soundings, 1979] in which I wanted to extend the reflexivity of each text in relation to the interaction between different physical substances—in this case, sand—and the speaker cone. A loudspeaker fills the screen and I begin to speak, referring to the speaker itself. This is followed by more declarations of what I am doing, ‘…a hand enters the picture….’ A hand filled with sand enters the picture and slowly releases it into the loudspeaker’s cone. Every nuance of speech vibrates the speaker’s cone (or membrane), bouncing the grains of sand into the air. The more I speak about what is happening, the more it changes—or feeds back into—the movement and patterns of the sand. At times the grain of the voice seemingly merges with what is experienced as ‘sand.’ The hand allows more and more sand to trickle onto the loudspeaker until the cone is no longer visible. The timbre of the voice crackles and is radically muffled. When the speaker is completely buried, the voice sounds distant but remarkably clear.”
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, p. 584.
Centre national d’art contemporain de Grenoble, Grenoble, France, January 6, 1987.
2e Semaine Internationale de Vidéo, Saint-Gervais Genève, Geneva, Switzerland, November 16 – 21, 1987.
“12th Poetry Film Festival,” Fort Mason Center, San Francisco, California, December 6, 1987.
Solo screening. Western Front, Vancouver, British Columbia, Canada, April 16, 1988.
Solo screening. Espace lyonnais d’art contemporain (ELAC), Lyon, France, July 26 and September 27, 1988.
“AS TOLD TO: structures for conversation,” Walter Phillips Gallery, Banff Centre, Banff, Alberta, Canada, July 28 – August 28, 1988.
"Infermental VII,” organized by Hallwalls Contemporary Arts Center, Buffalo, New York, 1988. Travelled internationally to over 30 venues.
Solo screening. Beursschouwburg, Brussels, Belgium, January 24, 1989.
“Between the Silences: The Videoworks of Gary Hill,” Pacific Film Archive, University of California, Berkeley, California, February 19, 1989.
Vidéoformes 89: Festival de la Création Vidéo, Clermont-Ferrand, France, April 20 – 29, 1989.
Videokunst 10, Stadtgalerie Saarbrüchen, Saarbrüchen, Germany, July 6 – 9, 1989.
“Video la nuit,” Maison pour tous, Annemasse, France, March 24, 1990.
Solo exhibition. “OTHERWORDSANDIMAGES,” Video Galleriet, Huset, Denmark and Ny Carlsberg Glyptotek Museum, Copenhagen, Denmark, April 20 – May 13, 1990.
"Impakt: Festival voor Experimentele Kunst," Utrecht, Holland, May 23 – 26, 1991.
Japan 92 Video and Television Festival: “Prospectus for a TV Art Channel,” Spiral, Tokyo, Japan, February 1 – 11, 1992.
"16 Dagar,” Nýlistasafnid, The Living Art Museum, Reykjavik, Iceland, June 26 – July 11, 1993.
“Gary Hill: In Light of the Other,” Museum of Modern Art, Oxford, England, November 7, 1993 – January 9, 1994; The Tate Gallery, Liverpool, England, February 25 – May 2, 1994.
“Gary Hill: Sites Recited,” Long Beach Museum of Art, Long Beach, California, December 3, 1993 – February 20, 1994.
Solo exhibition. Dia Center for the Arts, New York, New York, May 11 – June 25, 1995.
“Sound Sculpture – Music for the Eye,” Ludwig Museum im Deutschherrenhaus, Städtische Museen, Koblenz, Germany, July 2 – September 24, 1995.
“Gary Hill,” Kemper Museum of Contemporary Art and Design, Kansas City, Missouri, October 14, 1995 – January 14, 1996.
Sedicesima Biennale Internazionale del Bronzetto Piccola Scultura Padova, Padua, Italy, October 29, 1995 – January 28, 1996.
"Gary Hill: O lugar do outro/where the other takes place,” Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil, July 1 – 6, 1997 (not the full run of the exhibition); Museu de Arte Moderna de São Paulo, São Paulo, Brazil, October 3 – November 2, 1997.
“Voices,” Witte de With, Center for Contemporary Art, Rotterdam, The Netherlands, June 4 – August 23, 1998. Travelled to: Fundació Joan Miro, Barcelona, Spain, September 17 – November 1, 1998; Le Fresnoy, Studio national des arts contemporains, Tourcoing, France, February 28 – April 11, 1999.
Solo exhibition. Center for Contemporary Images, Saint-Gervais Genève, Geneva, Switzerland, September 9, 10, 1998.
Solo exhibition. Aarhus Kunstmuseum, Aarhus, Denmark, January 17 – April 5, 1999.
“Gary Hill: Video Works,” NTT InterCommunication Center, Tokyo, Japan, February 16 – March 31, 1999.
Solo exhibition. Centro Cultural Recoleta, Buenos Aires, Argentina, May 17 – June 4, 2000 (May 27, 2000 screening).
Solo exhibition. Museo Caraffa, Córdoba, Argentina, July 7 – 30, 2000 (July 15, 2000 screening).
“Hill(scape),” Extra Microwave Media Art Festival (organized by Videotage), Hong Kong Space Museum Lecture Hall, Hong Kong, January 14 – 31, 2001 (January 19 & 21 screenings).
“l’écriture vidéophage – les bandes vidéo de Gary Hill,” La Compagnie, Marseille, France, May 1 – 31, 2001 (May 8 & 10 screenings).
“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.
“C’est pas due Cinema,” Le Fresnoy Studio national des arts contemporains, Tourcoing, France, January 26 – March 24, 2002.
“Plus qu’une image / Nuit Blanche,” (organized by Caroline Bourgeois) 5, rue Curial, Paris, France, October 5 – 6, 2002.
“Text and Image: Conversations,” Museum of Contemporary Photography, Columbia College, Chicago, Illinois, February 20 – April 17, 2004.
“Tune (In))) Santa Fe,” Santa Fe Art Institute, Santa Fe, New Mexico, July 17, 2004.
“Gary Hill: A Personal Anthology / Video Works,” (video screenings) The Ossolinski National Institute, Wroclaw, Poland, December 1 / 2 and FAMU, Prague, Czech Republic, December 9, 2004.
34th International Film Festival Rotterdam, The Netherlands, January 26 – February 6, 2005.
“Gary Hill: Voice Grounds,” St Paul Street Gallery, Auckland University of Technology, Auckland, New Zealand, March 12 - April 25, 2009.
“IMAI on Screen: Voice Windows,” Art House Cinema Bambi, Dusseldorf, Germany, December 2, 2009.
TONSPUR_expanded III, MuseumsQuartier, Vienna, Austria, December 10, 2010 - February 20, 2011.
“Kunstmuseum Wolfsburg at The Hunter Museum,” The Hunter Museum of American Art, Chattanooga, TN, May 26 – October 4, 2011.
Dallas Medianale 2015 / The McKinney Avenue Contemporary, Dallas, TX, January 17 - March 7, 2015.
"Traces: Festival des arts numeriqués," Chartreuse de la Valbonne, Bagnols-sur-Cèze, France, May 7 — 27, 2015.
"Gary Hill," 37 Moscow International Film Festival/Media Forum, Cinema October, June 21, 2015.
“Gary Hill: Momentombs,” Suwon Art Museum, Suwon, Korea, November 26, 2019 — March 6, 2020.
"AHOTSARI EMAN / PULSAR LA VOZ. KOMISARIO BERRIAK 2021, Artium Museum of Contemporary Art of the Basque Country, Araba, Spain, December 10, 2021 — January 16, 2022.
2e Semaine Internationale de Vidéo. Geneva: Saint-Gervais Genève, 1987, p. 128.
Hill, Chris, Tony Conrad and Peter Weibel, eds. Infermental 7. Buffalo, New York: Hallwalls Contemporary Arts Center, 1988, pp. 14, 25.
Vidéoformes '89: Festival de la Création Vidéo. Clermont-Ferrand, France: Festival de la Création Vidéo, 1989, p. 12.
Nash, Michael. "What Time is Television? or The Importance of Being Boring." Art Issues 16 (February/March 1991), p. 23.
Lageira, Jacinto. "Gary Hill. Une verbalisation du regard." Parachute 62 (April/May/June 1991), p. 8.
Sarrazin, Stephen. Chimaera Monographe No. 10 (Gary Hill). Montbéliard, France: Centre International de Création Vidéo Montbéliard, Belfort, 1992, pp. 26, 27, 62.
Van Assche, Christine. Gary Hill. Paris: Editions du Centre Georges Pompidou, 1992, pp. 62, 63, 59, 83.
Van Assche, Christine and Corinne Diserens. Gary Hill. Valencia: Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, 1993, pp. 63, 67, 87.
Gary Hill: Sites Recited. Long Beach, California: Long Beach Museum of Art, 1993, p. 25.
Sarrazin, Stephen. “Gary Hill. Dai un senso a ciò che muovi.” Flash Art XXVI, 174 (April 1993), p. 35. (In English: “Gary Hill: mean what you move.” Flash Art (International Edition) 173 (November/December 1993), p. 86.)
Willis, Holly, ed. Gary Hill. Spinning the Spur of the Moment. Irvington, New York: The Voyager Company, 1994, p. 15.
Vogel, Sabine B. “Im Licht des Monitors Gary Hill.” Artis (December 1994/January 1995), p. 45.
Vischer, Theodora, ed. Gary Hill: Imagining the Brain Closer than the Eyes. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, pp. 121, 122. (In German: Gary Hill: Arbeit am Video. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, p. 127.)
Klangskulpturen – Augenmusik: Grenzgange zwischen Musik und Plastik im 20. Jahrhundert. Koblenz: Städtische Museen Koblenz, Ludwigmuseum im Deutschherrenhaus, 1995, pp. 88, 89.
Dantas, Marcello. Gary Hill: O lugar do outro/where the other takes place. Rio de Janeiro: Magnetoscópio, 1997, pp. 24, 69, 81.
Phillips, Christopher. Voices = Voces = Voix. Rotterdam: Center for Contemporary Art; Barcelona: Fundació Joan Miró; and Tourcoing: Le Fresnoy, Studio national des arts contemporain, 1998, pp. 48, 49. (Including a transcription.)
Gary Hill: Video Works. Tokyo: NTT InterCommunication Center, 1999, pp. 5, 23.
Kold, Anders, ed. Gary Hill. Aarhus: Aarhus Kunstmuseum, 1999, p. 114.
Morgan, Robert C., ed. Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 46 – 47, 70, 71, 163.
Gary Hill en Argentina: textos, ensayos, dialogos. Buenos Aires: Centro Cultural Recoleta, 2000, pp. 10, 21 – 22 (transcription of text), 25.
Gary Hill: Instalaciones. Córdoba: Ediciones Museo Caraffa, 2000, pp. 28 – 29, 74.
Hill (scape): Gary Hill’s video screening, performance and installation exhibition. Program notes. Hong Kong: Videotage, 2001, p. 5, 8.
Lageira, Jacinto. Des premiers mots aux derniers silences in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 72 – 77 (excerpts of transcription of spoken text.)
Plus qu’une image. Video program. Paris: Délégation aux arts plastiques et du Centre national des arts plastiques, p. 24 (listing only).
Sans Commune Mesure: Image et texte dans l’art actuel. (Paris: Éditions Léo Scheer, 2002), pp. 58, 60.
Blouin, Patrice. “Amour, baffles et cocktails Molotov.” Cahiers du Cinéma (November 2002), p. 27.
Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, pp. 38, 82, 122, 123.
Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and New Art Trust. Long Island City: P.S. 1 Contemporary Art Center, 2003, pp. 170, 172, 173.
Mind on the Line: Gary Hill, George Quasha, Charles Stein, Aaron Miller and Dorota Czerner. In English and Polish. Wroclaw: WRO Art Center, 2004, pp. 16 – 17.
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. 24, 25, 30.
Odin, Paul-Emmanuel. L’absence de livre [Gary Hill et Maurice Blanchot – Écriture, vidéo]. Marseille: La Compagnie, 2007, pp. 153, 158 – 170.
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 429, 584.
Hurrell, John. “Dramatic Video Installations.” EyeContact (March 30, 2009): http://eyecontactartforum.blogspot.com/2009/03/dramatic-video-installations.html.
Gary Hill: Viewer. Moscow: GMG Gallery, 2010 (in Russian and English), pp. 68 – 71.
speak
speak er
err aahh
a voice
a voice speaks out
out loud
a loud speaker lauds a voice
out loud
out of bounds of the picture
a picture of a speaker
a hand enters the picture
a voice enters the hand
a hand bearing tidings
tidings of a bare hand
a voice in the hand is worth two in the sand
a hand enters the picture
a picture's worth less without words
within words speak voices
a voice peaks through a voice
a voice bares a voice bearing voices
voice burials
voice burials
a bare voice lies in the sand
a thousand grains of voice
a voice grain shifts bearing a grand old voice
a bare voice lies in the sand
grains of would-be glass sharpen a voice
a bare voice lies in the sand
stuck in the ground a grounded voice
a voice ground
voice grounds grinding voices underground
a voice bound under ground
bearing voices underground
voice buries underground
holding ground
a voice from the underground
a voice is losing ground
a voice is lost and found
a bare voice lies in the sand
barely a voice can be said to be heard
one herd of wild voices kicking up the ground