Incidence of Catastrophe, 1987-88
Video (color, stereo sound); 43:51 min.
Inspired by the novel Thomas the Obscure by Maurice Blanchot wherein the protagonist of the novel is the reader of the novel he is in (who may well be Blanchot himself). In the video, Thomas the protagonist is played by Hill which confounds the self-reflexive nature of the book’s relationships all the more, making the video something of a “transcreation.” The “reader” begins in the liquidity of the text almost as if he were waking from drowning. Images of the sea ravishing the shore – small cliffs of sand eroding and collapsing – are inter-cut with extreme close-ups of text and the texture of the page and book itself being flooded with ocean waves. In scene after scene the reader attempts to re-enter the book only to find himself a part of intense dreams and hallucinations. Thomas/Hill reads the book, when, suddenly, he feels he is being watched by the words. The character then experiences the book as a forest of words he is fighting through. Another “chapter” finds him alone in his room at night, overcome by a strange illness, in which the vision of the text has him vomiting violently. The text infiltrates the reader’s entire experience. Thinking he is still capable of functioning socially, the character finds himself at dinner with a group of hotel guests. Their conversation turns into isolated words that, like the sand, erode and wash away with seemingly all possibilities of meaning. The final scene shows the reader in the form of Hill physically and mentally destroyed. Cowering naked in the fetal position, he lies in his own excrement on a white-tiled floor, babbling unintelligible sounds. The pages of the book have grown into monumental walls with colossal letters that menacingly surround and imprison the naked body.
Broeker, Holger, ed. Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, GHCR 59, pp. 130 – 132.
Camera / Lighting: Rex Barker
With Ramone Cyrus McLane, Lou Hetler, George Catalano, Joy Cohen, Diane Wagner, Phyllis Bannister, Ed Boyd, and Maria Lodahl
"Collected Video Essays,” Long Beach Museum of Art, Long Beach, California, May 1 – June 5, 1988.
Group exhibition. Videowochen im Wenkenpark, Riehn/Basel, Switzerland, July 4 – 10, 1988.
Solo screening. Espace lyonnais d’art contemporain (ELAC), Lyon, France, July 26 and September 27, 1988.
3. Videonale, Bonn, Germany, September 11 – 16, 1988.
World Wide Video Festival, Kijkhuis, The Hague, The Netherlands, September 16 – October 17, 1988.
“Ethique & Television” – 4eme Manifestation Internationale de Vidéo et TV, Montbéliard, France, September 21 – 25, 1988.
Festival International du Nouveau Cinema et de Vidéo Montréal, Montreal, Quebec, Canada, October 20 – 30, 1988.
“Montebeliard Video,” L’Entrepot, Paris, France, October 26 – November 9, 1988.
32nd London Film Festival, London, England, November 10 – 27, 1988.
“Art/Documents: vidéo,” Centre Municipal d’Activités Culturelles, Ville de Gentilly, France, December 10 – 11, 1988.
Solo exhibition. Musée d’art moderne, Villeneuve d’Ascq, France, January 19 – February 19, 1989.
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.
"Impakt: Festival voor Experimentele Kunst," Utrecht, Holland, March 15 – 19, 1989.
Whitney Biennial, Whitney Museum of American Art, New York, New York, April 18 – July 9, 1989.
Vidéoformes 89: Festival de la Création Vidéo, Clermont-Ferrand, France, April 20 – 29, 1989.
“Filmer à tout prix, no. 4,” Brussels, Belgium, April 25 – 29, 1989.
Athens International Film and Video Retrospective, Ohio University, Athens, Ohio, April 28 – May 6, 1989.
Atlanta Film and Video Festival, Woodruff Arts Center, Atlanta, Georgia, May 9 – 14, 1989.
“Electronic Landscapes,” The National Gallery of Canada, Ottawa, Ontario, Canada, July 6 – September 4, 1989.
The Fourth Contemporary Art Festival: “Moving Images Now,” Museum of Modern Art, Toyama, Japan, July 22 – August 27, 1989.
The Third Fukui International Video Biennale: “Expansion & Transformation,” Fukui City, Japan, July 29 – August 20, 1989.
Second Japan Video Television Festival: “Delicate Technology,” Spiral, Aoyama, Tokyo, Japan, July 31 – August 7, 1989.
"Les Cent jours d’art contemporain de Montréal 1989,” Centre international d’art contemporain de Montréal, Montreal, Quebec, Canada, September 1 – December 3, 1989.
“Video and Language,” Museum of Modern Art, New York, New York, September 7 – October 31, 1989.
"Extended Definitions: Video Experiments in Perception,” Artists Space, New York, New York, September 28 – November 4, 1989.
3e Semaine Internationale de Video, Saint-Gervais Genève, Geneva, Switzerland, November 15 – 18, 1989.
“Selections from the Permanent Collection: Recent Acquisitions – Video,” San Francisco Museum of Modern Art, San Francisco, California, November 16 – December 17, 1989.
“Maison des Arts et Loisirs,” Thonon, France and “Maison de la Culture,” Chambéry, France, January 12, 13, 1990.
“Feature Length Video,” 911 Contemporary Arts Center, Seattle, Washington, February 17, 1990.
“Tendances multiples: Vidéos des annees 80,” Musée national d’art moderne, Centre Georges Pompidou, Paris, France, March 6 – May 6, 1990.
Scan 90 Videoart Spring Festival, Heineken Village Gallery, Tokyo, Japan, March 10 – 18, 1990.
“Gary Hill: Incidence of Catastrophe,” YYZ Artist’s Outlet, Toronto, Ontario, Canada, March 22 – April 14, 1990.
Solo exhibition. “OTHERWORDSANDIMAGES,” Video Galleriet, Huset, Denmark and Ny Carlsberg Glyptotek Museum, Copenhagen, Denmark, April 20 – May 13, 1990.
Solo exhibition. Moderna Museet, Stockholm, Sweden, November 26 – December 16, 1990. Traveled to: Museum of Contemporary Art, Helsinki, Finland, July 24 – 27, 1991.
"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.
“Filmladen Videokunstfest,” Kassel, Germany, July 16 – 22, 1992. Travelled to: Botschaft Festival, Berlin, Germany, July 1992; Hinterhaus, Wiesbaden, Germany, September 1992.
“Gary Hill,” (traveling exhibition organized by the Musée national d’art moderne, Centre Georges Pompidou, Paris, France), Musée national d’art moderne, Centre Georges Pompidou, Paris, France, November 25, 1992 – January 24, 1993; Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, Valencia, Spain, February 26 – May 2, 1993; Stedelijk Museum, Amsterdam, The Netherlands, August 28 – October 10, 1993; Kunsthalle Wien, Vienna, Austria, November 17, 1993 – January 9, 1994.
“Passageworks,” Rooseum, Malmö, Sweden, April 27 – July 25, 1993.
“16 Dagar,” Nýlistasafnid, The Living Art Museum, Reykjavik, Iceland, June 26 – July 11, 1993.
37th London Film Festival, London, England, November 4 – 21, 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.
ForumBHZvideo, Festival Internacional de Video, Belo Horizonte, Brazil, November 10 – 15, 1993.
“Gary Hill: Sites Recited,” Long Beach Museum of Art, Long Beach, California, December 3, 1993 – February 20, 1994.
"Gary Hill,” Musée d’art contemporain, Lyon, France, May 26 – September 19, 1994.
“Gary Hill: Selected Videotapes 1978 – 1990,” Art Gallery of Ontario, Toronto, Ontario, Canada, June 7 – August 28, 1994.
“Heart of Darkness,” Kröller-Müller Museum, Otterlo, The Netherlands, December 18, 1994 – March 26, 1995.
“Gary Hill,” Museum of Contemporary Art, Los Angeles, California, December 19, 1994 – March 12, 1995.
“Gary Hill,” (travelling exhibition organized by Riksutställningar, Stockholm, Sweden) Moderna Museet, Spårvagnshallarna, Stockholm, Sweden, February 4 – April 17, 1995; Museet for samtidskunst, Oslo, Norway, April 26 - May 21, 1995; Helsingin Taidehalli, Helsinki, Finland, June 29 - July 30, 1995; Bildmuseet, Umeå, Sweden, September 3 - October 15, 1995, Jönköpings läns museum, Jönköping, Sweden, October 22 - November 15, 1995; Göteborgs Konstmuseum, Göteborg, Sweden, November 15, 1995 - January 14, 1996.
Solo exhibition. Dia Center for the Arts, New York, New York, May 11 – June 25, 1995.
“The Decade Between: American Video Art, 1978 – 1988: Fighting Words: Works by Juan Downey, Gary Hill, and Peter Rose,” Pacific Film Archive, University of California, Berkeley, California, October 18, 1995.
Sedicesima Biennale Internazionale del Bronzetto Piccola Scultura Padova, Padua, Italy, October 29, 1995 – January 28, 1996.
“One and Others: Photography and Video by Juan Downey, Angela Grauerholz, Gary Hill, Alfredo Jaar, Annette Messager,” Galerie Lelong, New York, New York, January 18 – March 9, 1996.
"Of Sound Mind: Language and Disorder.” New Langton Arts, San Francisco, California, January 18 and 26, 1996.
“Unimplosive Art: Toward New Classical Trends,” Venice Biennale, Venice, Italy, June – September 1997.
“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.
“Human References: Marks of the Artist: A Ten Year Retrospective Exhibition of the Seattle Artists’ Program Collection,” Seattle Arts Commission, Seattle Center Pavilion, Seattle, Washington, October 10 – October 26, 1997.
“Gary Hill,” Musée d’art contemporain de Montréal, Montreal, Quebec, Canada, January 30 – May 3, 1998.
“Visual Utterance: The Works of Gary Hill,” Pacific Film Archive, University of California, Berkeley, California, February 11, 18, 1998.
"El Cuerpo del Delito,” Museo Nacional de Bellas Artes, Buenos Aires, Argentina, May 9, 1998.
Solo exhibition. Center for Contemporary Images, Saint-Gervais Genève, Geneva, Switzerland, September 9, 10, 1998.
"Video Arte,” Palacio de Osambela, Lima, Peru, October 15 – December 15, 1998.
Solo exhibition. Aarhus Kunstmuseum, Aarhus, Denmark, January 17 – April 5, 1999.
Group exhibition. TV Gallery, Moscow, Russia, January 27, 1999.
“Gary Hill: Video Works,” NTT InterCommunication Center, Tokyo, Japan, February 16 – March 31, 1999.
“Transmute,” Museum of Contemporary Art, Chicago, Illinois, August 21 – November 7, 1999.
"The Cool World: Film & Video in America 1950 – 2000, Part 2: The Unfixed Image, 1970 - 2000,” Whitney Museum of American Art, New York, New York, January 30, 2000.
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 22, 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 20 screening).
“I’ll Never Let You Go,” organized by Panacea Festivals / Siemens Kulturprogramm, Stockholm, Sweden, March 9 – 18, 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.
“l’écriture vidéophage – les bandes vidéo de Gary Hill.” La Compagnie, Marseille, France, May 1 – 31, 2001 (May 22 & 24 screenings).
Rose Art Museum, Brandeis University, Waltham, Massachusetts, March 14 - 24, 2002 (entire program February 28 - March 24, 2002).
“Video Acts: Single Channel Works from the Collections of Pamela and Richard Kramlich and the New Art Trust,” P.S. 1 Contemporary Art Center, New York, New York, November 10, 2002 – April 2003.
Butler Institute of American Art, Youngstown, Ohio, March 16 – April 19, 2003.
“Skin-deep: Il Corpo come luogo del segno artistico,” MART: Il Museo d’Arte Moderna e Contemporanea di Trento e Rovereto, Italy, October 28, 2003 – January 18, 2004.
Panel discussion, “Vingt ans du College de Philosophie,” École nationale supérieure des beaux-arts, Paris, France, November 6, 2003.
“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.
“Image, Body, Text: Selected Works by Gary Hill,” San Francisco Museum of Modern Art, San Francisco, California, March 24 – May 30, 2005.
“Gary Hill: Strange Trajectories,” NRW-Forum / IMAI (Inter Media Art Institute), Dusseldorf, Germany, September 15 – October 28, 2007.
“Gary Hill: Voice Grounds,” St Paul Street Gallery, Auckland University of Technology, Auckland, New Zealand, March 12 - April 25, 2009.
“Art of Limina: Gary Hill,” Slought Foundation, Philadelphia, Pennsylvania, March 21 – May 1, 2009.
“Mulberry Tree Press,” SE8 Gallery, London, England, May 7 – July 11, 2010.
“SWELL: Art 1950 – 2010,” Friedrich Petzel Gallery, New York, NY, July 1 – August 6, 2010.
“Gary Hill: Between Word and Image,” Headquarters of the Superintendence for the Archaeological Heritage of the Vento / Ministry of Cultural Heritage, Verona, Italy, October 14 – 16, 2010.
“Secret Journeys, from the EMST Collection,” ART-ATHINA (International Contemporary Art Fair of Athens), Athens, Greece, May 12 – 15, 2011.
“30 Year – 30 Voices: A retrospective celebrating the 30th anniversary of Videonale Bonn,” Bonner Kunstverein, Bonn, Germany, August 24 - October 5, 2014.
"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.
The Third Fukui International Video Biennale: Expansion and Transformation. Fukui City, Japan: Fukui Audio Video Center, 1985, pp. 54, 132, 213.
Gary Hill: DISTURBANCE (among the jars). Villeneuve d'Ascq, France: Musée d'Art Moderne, 1988, unpaginated.
Art/Documents: vidéo. Program notes. Gentilly, France: Centre Municipal d’Activités Culturelles, Ville de Gentilly, 1988, unpaginated.
World Wide Video Festival 1988. The Hague: Kijkhuis, 1988, pp. iv, 15.
Montbeliard Video al’Entrepot. Program notes. Paris: L’Entrepot, 1988, unpaginated.
3. Videonale in Bonn. Bonn: Videonale, 1988, p. 98.
Festival International du Nouveau Cinéma et de la Vidéo Montréal 1988. Montreal: Festival International du Nouveau Cinéma et de la Vidéo Montréal, 1988, p. 74.
Les Cents jours d’art contemporain de Montréal 1989. Montreal: Centre international d’art contemporain de Montréal, 1989, unpaginated.
Vidéoformes '89: Festival de la Création Vidéo. Clermont-Ferrand, France: Festival de la Création Vidéo, 1989, p. 13.
Delicate Technology: Japan ’89 Video Television Festival at Spiral. 2 Volumes. Tokyo: Treville, 1989, pp. 109, 113, 116.
Bellour, Raymond. Lynne Kirby, trans. "Eye for I: Video Self-Portraits." New American Film and Video Series 48. New York: Whitney Museum of American Art, 1989, unpaginated.
1989 Whitney Biennial Video Exhibition. The American Federation of Arts Film/Video Program. New York: American Federation of Arts, 1989, unpaginated.
Riley, Robert R. Selections from the Permanent Collection: Recent Acquisitions—Video. San Francisco: San Francisco Museum of Modern Art, 1989, unpaginated.
Gale, Peggy. Electronic Landscapes. Program notes. Ottawa: National Gallery of Canada, 1989, unpaginated.
Filmer à Tout Prix No. 4 avec la collaboration de Vidéo, Réalitiés. Program notes. Brussels: Botanique, 1989, unpaginated.
3e Semaine Internationale de Vidéo. Geneva: Saint-Gervais Genève, 1989, pp. 71, 107.
The Third Fukui International Video Biennale: Expansion and Transformation. Fukui City, Japan: Fukui Audio Visual Center, 1989, pp. 132, 213.
1989 Athens International Film and Video Festival. Program notes. Athens, Ohio: Athens Center for Film and Video, 1989, p. 8.
The Thirteeenth Atlanta Film & Video Festival. Program notes. Atlanta: IMAGE Film/Video Center and High Museum of Art, 1989, unpaginated.
Borum, Poul. "Fraværets Film." Tusinoe Øjne116 (July 20, 1989).
Nash, Michael. "AFI Video Festival." Artscribe International (Summer 1989), pp. 86, 87.
Mittenthal, Robert. “Video’s Event: Gary Hill Catastrophe.” Reflex 3, 6 (November/December 1989), pp. 11 – 13.
Gay, Jean-Jacques. "Deux temps trois mouvements. A propos de ‘Site Recite’ de Gary Hill." Gen Lock 15 (December 1989), p. 23.
Hill, Gary. "And if the Right Hand Did not Know What the Left Hand is Doing." Illuminating Video, eds. Doug Hall and Sally Jo Fifer. New York: Aperture Press in association with the Bay Area Video Coalition, 1990, pp. 94 - 95.
Passages de l'Image. Paris: Musée National d'Art Moderne, Centre Georges Pompidou, 1990, pp. 54, 55. (In Spanish: Passages de l’image. Barcelona: Centre Cultural de la Fundacio Caixa de Pensions, 1991, pp. 71, 73.)
V.I.P. – video –image(s) – peinture. Paris: galerie du génie, 1990, p. 17.
Bienal de la Imagen en Movimento '90. Madrid: Museo Nacional Centro de Arte Reina Sofia, 1990, p. 58.Parent, Sylvie. Cent Jours D'Art Contemporain à Montreal. Montreal: Centre International d'Art Contemporain de Montreal, 1990.
Mittenthal, Robert. Gary Hill: And Sat Down Beside Her. Paris: Galerie des Archives, 1990, unpaginated.
OTHERWORDSANDIMAGES: Video by Gary Hill. Copenhagen: Video Gallerie/Ny Carlsberg Glyptotek, 1990, pp. 10, 14, 15.
Glowen, Ron. "Camera of the mind: Contemporary Art Center, Seattle." Artweek (February 22, 1990), pp. 15, 16.
Van Assche, Christine. "Tendances Multiples." Tendances Multiples, Videos des Années 80, Petit Journal, No. 22 (March/May 1990), unpaginated.
Chion, Michel. "La bouche et la video." L'Image Video 3 (April/May 1990), pp. 20 – 22.
Devriendt, Christine and Paul-Emmanuel Odin. "L'image comme une aiguille qui ecrit au bout des mots Site Recite (a prologue) une video de Gary Hill." Kanal 6 (May 1990), pp. 54 – 56.
Ferrer, Esther. “The Image, from Every Angle.” Lapiz 69 (June 1990), p. 55.
Sarrazin, Stephen. "Gary Hill at Galerie des Archives." art press 147, France (May 1990), p. 98.
Louppe, Laurence. “Passages de l’image. Musée national d’art moderne.” art press 152 (November 1990), p. 80.
Nyo, Paula Tin. “The Language of modernity: Oakland Museum, California.” Artweek 21 (November 1, 1990), p. 16.
Van Assche, Christine. "Gary Hill: The Imager of Disaster. Interview with Gary Hill." Galeries Magazine (December 1990/January 1991), pp. 77, 140, 141.
IMPAKT: festival voor experimentele kunst. Program notes. Utrecht: Cultuurcentrum Ekko, 1991, p. 15.
Video Forum Berlin Bestandskatalog. Berlin: Neuer Berliner Kunstverein, 1991, pp. 16, 77.
Nash, Michael. "What Time is Television? or The Importance of Being Boring." Art Issues 16 (February/March 1991), pp. 23, 24.
Lageira, Jacinto. "Gary Hill. Une verbalisation du regard." Parachute 62 (April/May/June 1991), pp. 4, 9.
Sarrazin, Stephen. “Objecten die leven Spreken, Tapes die Leren Zwijgen.” Andere Sinema 104 (July-August 1991), pp. 21 – 24.
Hill, Gary. Responses to a series of questions. Vidéochroniques 1 (September 1991), unpaginated.
Pencenat, Corinne. "L'Experience Limite de Gary Hill." Beaux Arts (October 1991), p. 113.
Hill, Gary. "Site Re:cite." Camera Obscura: Unspeakable Images, San Francisco 24 (1991), pp. 125, 136.
Romano, Gianni. “Inasmuch as it is always already taking place.” Lapiz 80 (October 1991), pp. 36 – 41.
Videokunstfest: Open Air. Kassel: Filmladen, 1992, p. 17.
Sarrazin, Stephen. Chimaera Monographe No. 10 (Gary Hill). Montbéliard, France: Centre International de Création Vidéo Montbéliard, Belfort, 1992, pp. 7, 8, 24, 25, 28, 32, 36 – 40, 50, 56, 64, 65. (Including a preface by Gary Hill.)
Van Assche, Christine. Gary Hill. Paris: Editions du Centre Georges Pompidou, 1992, pp. 10, 11, 39, 45, 126, 127, 129. (Including an excerpt from Gary Hill, “Inter-view”)
Watari, Shizuko. Gary Hill – I Believe It Is an Image. Tokyo: WATARI-UM, The Watari Museum of Contemporary Art, 1992, unpaginated.
Sarrazin, Stephen. "La parole aux objets." art press 165, France (January 1992), pp. 21 – 23.
Conomos, John. “Verbal executions on Gary Hill’s videography.” Photofile 35 (May 1992), pp. 35 – 38.
Glowen, Ron. “Natural processes of thought: video of the mind.” Artweek 23 (September 17, 1992), p. 24.
Fargier, Jean-Paul. “Gary Hill sur la crête des vagues.” Jardin des Modes (December 1992).
Cooke, Lynne. "Gary Hill: 'Who am I but a figure of speech?'" Parkett 34 (1992), pp. 17 – 19.
Gary Hill: Sites Recited. Long Beach, California: Long Beach Museum of Art, 1993, p. 25.
Gary Hill: In Light of the Other. Oxford: Museum of Modern Art Oxford; Liverpool: The Tate Gallery Liverpool, 1993, pp. 5, 10, 11, 15.
Van Assche, Christine and Corinne Diserens. Gary Hill. Valencia: Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, 1993, pp. 14, 15, 43, 49, 104 – 107, 130, 131. (Including an excerpt from Gary Hill, “Inter-view”)
Mignot, Dorine. Gary Hill. Amsterdam: Stedelijk Museum; Vienna: Kunsthalle Wien, 1993, pp. 14, 15, 19, 70 – 73. (Including an excerpt from Gary Hill, “Inter-view”)
Joachimides, Christos M. and Rosenthal, Norman, eds. American Art in the 20th Century: Painting and Sculpture 1913 – 1993. Munich: Prestel -Verlag, 1993, pp. 160, 161. (In German: Amerikanische Kunst im 20. Jahrhundert: Malerei und Plastik 1913 – 1993. Berlin: Martin-Gropius-Bau, 1993, p. 160.)
ForumBHZvideo 1993. Festival Internacional de Vídeo: Limite. Belo Horizonte, Brazil: Festival Internacional de Video, 1993, pp. 46 – 48. (Including an excerpt from Gary Hill, “Inter-view.”)
Cooke, Lynne, Bice Curiger and Greg Hilty. DOUBLETAKE: Kollektives Gedächtnis & Heutige Kunst. Vienna: Kunsthalle Wien, 1993, pp. 175, 231, 265.
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), pp. 86, 87.)
Murin, Preložil Michal. “Gary Hill.” Profil. Súcasného Výtvarného Umenia (December 1993), p. 28.
De Rijcke, Elke. “Dageraad of avondschemer over de video-installaties van Gary Hill.” Metropolis M 1 (1993), p. 31.
Bruce, Chris. Gary Hill. Seattle, Washington: Henry Art Gallery, University of Washington, 1994, pp. 47, 66, 67, 82, 83, 97.
Willis, Holly, ed. Gary Hill. Spinning the Spur of the Moment. Irvington, New York: The Voyager Company, 1994, pp. 2 – 4, 6, 7, 9, 10, 15.
Willis, Holly. “The Unknown That Knows Where the Hole in the Mind Resides: Installations and Videos by Gary Hill at the Long Beach Museum of Art.” Video Networks, San Francisco (February/March 1994), p. 21.
Thériault, Michèle. Gary Hill. Selected videotapes 1978 – 1990. Toronto: Art Gallery of Ontario, 1994, unpaginated.
Vogel, Sabine B. “Im Licht des Monitors Gary Hill.” Artis (December 1994/January 1995), pp. 45 – 47.
London, Barbara J. Video Spaces: Eight Installations. New York: Museum of Modern Art, 1995, pp. 22 – 23, 48 – 53.
Vischer, Theodora, ed. Gary Hill: Imagining the Brain Closer than the Eyes. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, pp. 20, 35, 44 – 47, 51, 69 – 72, 90, 91, 112, 122, 123. (In German: Gary Hill: Arbeit am Video. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, pp. 21, 37, 46 – 48, 54, 55, 75 – 77, 98, 99, 119, 127 – 129.)
Gary Hill: Tall Ships, Clover. Stockholm: Riksutställningar, 1995, pp. 20 – 23, 48, 55, 59.
Valentini, Valentina. Video d’autore 1986 – 1995. Rome: Gangemi editore, 1995, p. 270.
Nagy, Pál. Az irodalom úm mufajai. Budapest: Magyar Muhely, 1995, p. 352.
3e biennale d’art cotemporain de lyon: installation, cinéma, vidéo, informatique. Paris: Réunion des musées nationaux, Biennale d’art contemporain, Paris, 1995, pp. 87, 174.
Duncan, Michael. “In Plato’s electronic cave.” Art in America 83, 6 (June 1995), pp. 70, 71.
Quasha, George and Charles Stein. Gary Hill: HanD HearD/liminal objects. Paris: Galerie des Archives; Barrytown, New York: Station Hill Arts, 1996, unpaginated.
Foreign Bodies FremdKörper – corps étranger – Foreign Body. Basel: Museum für Gegenwartskunst, Öffentliche Kunstsammlung Basel, 1996, p. 18.
Wohl & Sein. Gemeinsame Ausstellung von Basler Museen und Institutionen. Basel: Editiones Roche, 1996, p. 46.
Lestocart, Louis-José. “Gary Hill: Surfer sur le medium / Surfing the Medium.” art press 210 (February 1996), pp. 20, 21.
Quasha, George and Charles Stein. Viewer. Gary Hill’s Projective Installations 3. Barrytown, New York: Station Hill Arts, 1997, pp. 56, 66, 68.
Dantas, Marcello. Gary Hill: O lugar do outro/where the other takes place. Rio de Janeiro: Magnetoscópio, 1997, pp. 30, 33, 41, 50, 69, 76.
Do, Willo. “Overseas Artist: Interview with Gary Hill.” Space, Japan (April 1997), p. 84.
“Imagem éloqüente. Gary Hill: O Lugar do Outro.” Revista Veredas (July 1997).
Hürzeler, Catherine. “Kann man auf abstrakte Weise surfen? Ein Gespräch mit dem Videokünstler Gary Hill.” Das Kunst-Bulletin 9 (September 1997), p. 19.
Stals, José Lebrero. Gary Hill: HanD HearD – Withershins – Midnight Crossing. Barcelona: Museu d’Art Contemporani de Barcelona, 1998, pp. 10, 13.
Bélisle, Josée. Gary Hill. Montreal: Musée d’art contemporain de Montréal, 1998, pp. 9, 15, 26, 36, 39, 55.
Der elektronische Raum: 15 Positionen zur Medienkunst. Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Dueuschland, 1998, pp. 150, 151, 153.
TV Dinner No. 2 at The Kitchen: Gary Hill and Meg Stuart. Program notes. New York: The Kitchen, 1998, unpaginated.
La Chance, Michaël. “Vidéognose.” Spirale, Montreal (May – June 1998), p. 12.
"And if the Right Hand Did not Know What the Left Hand is Doing." (German translation). Noëma Art Journal 49 (October-November 1998), pp. 86, 87.
“Liminal Performance: Gary Hill in Conversation with George Quasha and Charles Stein,” PAJ (Performing Arts Journal) No. 58, Vol. XX, No. 1 (January 1998), pp. 6, 11, 18, 19.
Bellemare-Brière, Véronique. “La vidéo s’éclate.” Esse, Montreal 4 (1998), p. 4.
Gary Hill: Video Works. Tokyo: NTT InterCommunication Center, 1999, pp. 8, 9, 42 – 44.
Kold, Anders, ed. Gary Hill. Aarhus: Aarhus Kunstmuseum, 1999, pp. 47, 83, 102 – 104, 114.
Marclay, Christian and Gary Hill. “Christian Marclay / Gary Hill: Conversation,” Annandale (Bard College), Vol. 139, No. 1 (Spring 2000), p. 3.
“The Concise History of 20th Century Art.” BT (Monthly Art Magazine Bijutsu Techo) Vol. 52, No. 784 (March 2000), p. 15. (In Japanese.)
Morgan, Robert C., ed. Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 13 – 14, 38, 57 – 60, 69, 72, 75, 79 – 83, 86, 120, 138, 154, 165 – 166, 218, 219, 220, 233, 234, 253, 258 – 260, 293, 294, 301.
Thériault, Michèle. “Translation between the lines: Gary Hill’s Incidence of Catastrophe.” Paragraph 23/2 (July 2000), pp. 135 – 156.
Gary Hill en Argentina: textos, ensayos, dialogos. Buenos Aires: Centro Cultural Recoleta, 2000, pp. 10 – 11, 12, 26, 33, 36 – 37, 43.
Gary Hill: Instalaciones. Córdoba: Ediciones Museo Caraffa, 2000, pp. 13, 22, 30 – 31, 41, 46 – 47, 76 – 77.
Hill (scape): Gary Hill’s video screening, performance and installation exhibition. Program notes. Hong Kong: Videotage, 2001, p. 7.
Lageira, Jacinto. Des premiers mots aux derniers silences in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 1 – 2, 14, 17, 36 – 44.
Quasha, George and Charles Stein. La performance elle-même in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 23, 57, 67 – 68.
Mauron, Véronique. Le signe incarné: ombres et reflets dans l’art contemporain. Paris: Éditions Hazan, 2001, p. 243.
Rowlands, Penelope. “Gary Hill’s Hall of Mirrors.” ARTnews 100, 5 (May 2001), p. 178.
Baqué, Dominique. “Gary Hill.” art press 269 (June 2001), pp. 80 – 81 (French and English).
Pytlinski, Deanne. “Liminality and Ritual in the Art of Gary Hill.” Chicago Art Journal 11 (Spring 2001), pp. 62 - 63.
Romano, Gianni. Media Connection. Milan: Libri Scheiwiller, 2001, pp. 36 – 37, 43, 48.
Riemschneider, Burkhard and Uta Grosenick, eds. Art Now. Cologne: Taschen, 2001, pp. 68 – 69.
Sans Commune Mesure: Image et texte dans l’art actuel. (Paris: Éditions Léo Scheer, 2002), pp. 46 – 47, 60.
Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, pp. 12, 17, 18, 45, 130 – 132, 208.
Zutter, Jörg, ed. Gary Hill / Bruce Nauman: International New Media Art. Sydney: National Gallery of Australia, 2002, pp. 27, 30. (Includes George Quasha’s essay: “Gary Hill’s Art of the Threshold.”)
Davinio, Caterina. Tecno-Poesia e realtà virtuali. Mantova: Commune di Mantova, 2002, pp. 195.
De Volder, Geoffroy (interview with Gary Hill). “L’instant de ma mort.” DITS (MAC’s Grand-Hornu) (Spring 2003), pp. 142 – 153.
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. 158 – 163, 173.
Barro, David. Gary Hill: Poeta da percepção, poet of perception, poeta de la percepción. In Portuguese, Spanish and English. Porto: Mimesis, 2003, pp. 13, 14, 15, 22 – 23, 34 – 35, 36, 56 – 57, 58.
Contrepoint: L’Art contemporain au Louvre. Paris: Connaissance des Arts, 2004, pp. 18 – 19.
Zwingenberger, Jeanette. “Gary Hill, quand penser c’est voir.” L’Oeil 555 (February 2004), pp. 24 – 25.
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. 10 - 11.
Schwabsky, Barry. “Gary Hill.” Contemporary 71 (2005), pp. 58 – 60.
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. 25 – 27.
Samaniego, Alberto Ruiz de. “Gary Hill and Maurice Blanchot: Dialogues at the Threshold.” Dardo magazine, 2 (June – September 2006), pp. 146 – 179.
Martin, Sylvia. Video Art. (Cologne: Taschen, 2006), pp. 57 – 58.
Odin, Paul-Emmanuel. L’absence de livre [Gary Hill et Maurice Blanchot – Écriture, vidéo]. Marseille: La Compagnie, 2007, pp. 55, 135, 194 – 196, 241 – 253, 259, 266, 286, 297.
Lissoni, Andrea. “Video and Contemporary Art: History of a Not Too Invisible Ghost,” in Electronic Lounge, La Donazione Halevim al Museo del Novecento. Milan: Carlo Cambi Editore, 2008, pp. 20 – 22.
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 25, 37, 44, 60, 152 – 185, 275, 311, 331, 333, 341, 343, 351, 374, 387, 392, 395, 418, 441, 481, 556, 557, 561, 582, 602, 633.
Ramos, María Elena. Gary Hill. Caracas: Centro Cultural Chacao, 2009 (in Spanish), pp. 10 – 11.
Hurrell, John. “Dramatic Video Installations.” EyeContact (March 30, 2009): http://eyecontactartforum.blogspot.com/2009/03/dramatic-video-installations.html.
Gary Hill: o lugar sem o tempo / taking time from place. Rio de Janeiro: Contra Capa Livraria / Mag Mais, 2009, p. 28.
Gary Hill: Viewer. Moscow: GMG Gallery, 2010 (in Russian and English), pp. 28, 29, 34, 35, 66 – 67.
Incidence of Catastrophe includes a dinner party scene in which the actors improvised a dialogue incorporating single words specifically selected by the artist from Maurice Blanchot's Thomas the Obscure. Following the dinner party scene, various manipulated words and phrases (including "similar," "just," "it went," "learned," "vague," "swum," "here," "obstacle," "this and that") become audible and are at times repeated.