Accordions (The Belsunce Recordings, July 2001), 2001-02
Five-channel video/sound installation
Five video projectors, five speakers, five DVD players and five DVDs (color; mono sound)
Dimensions variable; projections approx. 9 h. x 12 w. ft. (2.7 x 3.7 m.) each
Edition of two and one artist’s proof
Recorded in the small Algerian neighborhood of Belsunce situated in the heart of Marseille, Accordions (The Belsunce Recordings, July 2001) constructs a space of living portraiture by “focusing time” on the everyday goings-on of the neighborhood streets. The work consists of five non-synchronized video projections with sound, each edited with segments of black/silence of varying lengths, to create a pulsating, rhythmic series of images and sounds. In the course of each video sequence, particular people catch the camera's attention; as the camera zooms in slowly on its subject, the imagery is interrupted by longer and longer segments of black, in essence slowing the scenes down so that they almost reach the photographic. As the camera pulls back out, the image is returned to its original time base. The title refers to this telescoping, “accordion”-like construction of time as it is applied to a moving/contextualized image.
“Gary Hill: à Belsunce,” La Compagnie, Marseille, France, February 1 – March 30, 2002. Note: First exhibited with the title Accordeon.
“Language Willing,” Barbara Gladstone Gallery, New York, New York, September 14 – October 19, 2002.
“Maquis,” Le Plateau, Fonds Régional d’art Contemporain (FRAC) d’Ile-de-France, Paris, France, September 18 – November 24, 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.
Consolidated Works, Seattle, Washington, February 17 – March 12, 2006.
“Gary Hill,” Donald Young Gallery, Chicago, Illinois, February 17 – April 15, 2006.
“Gary Hill: Voice Grounds,” St Paul Street Gallery, Auckland University of Technology, Auckland, New Zealand, March 12 - April 25, 2009.
“Gary Hill: o lugar sem o tempo / taking time from place,” Oi Futuro, Rio de Janeiro, Brazil, July 20 – September 6, 2009.
“Gary Hill: Viewer,” GMG Gallery, Moscow, Russia, June 21 – 30, 2010.
“Habiter la Terre: Du Battement de Coeur à l’Emportement du Monde,” La Biennale internationale d’art contemporain, Ville de Melle, France, June 25 – September 18, 2011.
Odin, Paul-Emmanuel. “La syncope du regard.” Le Pavé 188 (February 27 – 13, 2002).
Gauthier, Léa. “Communauté de visages.” Mouvement 16 (April - June 2002), pp. 42 – 43.
Maquis. Paris: Le Plateau / FRAC Île-de-France and Brussels: La Lettre Volée, 2002, pp. 4 – 5, 34 – 39, 52 – 53, 56.
Quasha, George. Gary Hill: Language Willing. Barrytown, NY: further/art and Boise: Boise Art Museum, 2002, pp. 7, 28 – 39, 44.
Jonquet, François. “C’est la rentree, risquez le maquis.” Nova Magazine (September 2002).
Rush, Michael. “A Résumé of Surfing and Philosophy as Well as Art.” The New York Times (September 15, 2002), pp. 31 – 32.
Michelon, Olivier. “Tapis dans la lisiere entre l’espace et le temps.” Le Journal de Arts (September 27 – October 10, 2002).
Marchi, Valérie. “Maquis d’artistes.” L’oeil (October 2002).
“Maquis.” Arts Antiques Auctions, Paris (October 2002).
Gauville, Hervé. “Du maquis historique au maquis végétal.” Libération (October 21, 2002).
Bonnin, Anne. “Maquis.” Art Press (December 2002).
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.
Roberson, Kate. “BAM exhibit examines language with video art.” The Arbiter, Boise State University (December 12, 2002), p. 8.
Lebowitz, Cathy. “Gary Hill at Barbara Gladstone.” Art in America (March 2003), pp. 119 – 120.
De Volder, Geoffroy (interview with Gary Hill). “L’instant de ma mort.” DITS (MAC’s Grand-Hornu) (Spring 2003), pp. 142 – 153.
Eamon, Christopher. “Becoming Digital: James Coleman, Ernie Gehr, Gary Hill.” Flash Art (March/April 2003), pp. 80 – 83.
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.
Joachimides, Christos M., ed. OUTLOOK. (Athens: Hellenic Culture Organizations, 2003), pp. 168 (photos).
Diez, Renato. “Gary Hill: Immagini contro parole.” Arte 380 (April 2005), pp. 98 – 104.
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. 148.
Clemans, Gayle. “A Brisk Return for Consolidated Works.” The Seattle Times (February 23, 2006), p. E3.
Yood, James. “Gary Hill / Donald Young Gallery.” ArtForum (Summer 2006), pp. 358 – 359.
Scott, Carrie E.A. “Methodical Man.” Seattle Weekly (August 15 – 21, 2007), p. 42.
Odin, Paul-Emmanuel. L’absence de livre [Gary Hill et Maurice Blanchot – Écriture, vidéo]. Marseille: La Compagnie, 2007, pp. 10 – 23.
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 353, 365, 368 – 269, 371, 511 – 512, 514, 567, 572.
Hurrell, John. “Dramatic Video Installations.” EyeContact (March 30, 2009): http://eyecontactartforum.blogspot.com/2009/03/dramatic-video-installations.html.
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, 85 – 93.
Copeland, Colette. “Rooted in the Experiential: A Conversation with Gary Hill.” Afterimage, 37, 3 (November/December 2009), pp. 19, 22.
Gary Hill: Viewer. Moscow: GMG Gallery, 2010 (in Russian and English), pp. 18, 19, 50 – 51.