Site Recite (a prologue), 1989
Video (color, stereo sound); 4:00 min.
Appearing as a hazy horizon laden with strange objects, the scene comprises bones, skulls of small mammals, butterflies, nuts, and other botanical “finds” spread out on a round table. These are objects of the kind that one might collect on a nature trail in a forest—but also shells and crumpled notes. They are relics that suggest the cycle of life in a way familiar to us from vanitas still life painting and natural history collections. The camera moves around the table, picking out objects which, because of the shallow depth of focus, stand out one after another from the panorama of the jumbled collection. A bird’s skull, a piece of bark, or a crystal appear needle-sharp in the picture, whereupon the focus changes and the contours of a shell emerge from the nebulous background. In this way the camera discloses the transient beauty of the items one after the other, capturing the beauty of each for a fraction of a second before focusing on the next object. This precise focusing/unfocusing continues for the duration of the work, while a narrator explores his momentary state of consciousness and relationship with the world, verbalizing his own thoughts as transient objects in an ontologically focused vanitas of mind. The rhythmic vocalized syllabics synchronize with the focusing and blurring of the image. And the final tableau places the viewer inside the mouth of the speaker looking out. Just as the narrator opens his mouth and speaks, light enters the speaking cavity, the tongue moves, and the teeth masticate the last words of the work: “imagining the brain closer than the eyes.”
“A prologue to Which Tree, an unrealized interactive videodisc that later morphed into Withershins. Using a track and dolly system, the camera was set at table top level from where thirteen circular tracking shots were made, each at a set focal point across the table. Additionally, the camera was ‘locked down’ at sixty-four points equal distance around the track from where the camera was rack focused through an extreme shallow depth of field. The thirteen rings and sixty-four points create the possibility of eight hundred thirty-two ‘match points’ toward seamlessly editing the rings and intersections together, as if one camera in continuous motion. The initial idea was to have the viewer/participant navigate a circular two-dimensional map representing the description given above—thirteen concentric circles with sixty-four intersecting diameters. As one walked the pathways, a spoken text would be heard spatially in relation to one’s location and change as one continued through the path. The prologue/text was produced as a representation of a single walk suggesting a myriad of other ‘walks’ and other ‘texts.’”
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, p. 591.
This four-minute tape was commissioned and produced by Imatco-Atanor for broadcast on Television Española as part of the 14 episode series El Arte del Video.
Voice: Lou Hetler
Camera / Lighting: Rex Barker
Second Japan Video Television Festival: “Delicate Technology,” Spiral, Aoyama, Tokyo, Japan, July 31 – August 7, 1989.
World Wide Video Festival, Kijkhuis, The Hague, The Netherlands, September 15 – October 10, 1989.
“1989 Whitney Biennial Film & Video Exhibition,” Institut d’estudis nord americans, Barcelona, Spain, October 17 – November 16, 1989.
3e Semaine Internationale de Video, Saint-Gervais Genève, Geneva, Switzerland, November 15 – 18, 1989.
“The Videotheque,” Center for Contemporary Arts of Santa Fe, Santa Fe, New Mexico, March 19, 1990.
“Video La Nuit,” Maison Pour Tous, Annemasse, France, March 24, 1990.
Vidéoformes 90: Festival de la Création Vidéo, Clermont-Ferrand, France, April 17 – May 5, 1990.
Solo exhibition. “OTHERWORDSANDIMAGES,” Video Galleriet, Huset, Denmark and Ny Carlsberg Glyptotek Museum, Copenhagen, Denmark, April 20 – May 13, 1990.
Athens International Film and Video Festival, Ohio University, Athens, Ohio, April 27 – May 5, 1990.
17th Annual Northwest Film & Video Festival, Oregon Art Institute, Portland, Oregon, May 3 – 12, 1990.
“Video Poetics,” Long Beach Museum of Art, Long Beach, California, May 13 – June 17, 1990; Rhode Island School of Design, Providence, Rhode Island, April 1992.
“Video Drive-In: The Alternative Voice,” Central Park Summerstage, New York, New York, August 14, 15, 1990.
“Passages de l’image,” Musée national d’art moderne, Centre Georges Pompidou, Paris, France, September 18 – November 19, 1990. Travelled to: Centre Cultural de la Fundació, Caixa de Pensions, Barcelona, Spain, February 11 - March 31, 1991; The Power Plant, Toronto, Ontario, Canada, May 10 – June 16, 1991; Wexner Center for the Arts, Columbus, Ohio, July 12 – October 27, 199; San Francisco Museum of Modern Art, San Francisco, California, February 6 – April 12, 1992.
“The Body Electric,” Pyramid Arts Center, Rochester, New York, October 1990.
Dallas Video Festival ’90, Dallas, Texas, November 15 – 18, 1990.
“The Body (2),” The Renaissance Society at the University of Chicago, Chicago, Illinois, March 4 – April 21, 1991.
"Impakt: Festival voor Experimentele Kunst," Utrecht, Holland, May 23 – 26, 1991.
“Fighting Words: Language and Perception: Works by Scott Rankin, Gary Hill, and Peter Rose,” Pacific Film Archive, University of California, Berkeley, California, June 27, 1991.
“Do Video, da Arte et da Tecnologia,” Centro Cultural Banco do Brasil, Rio de Janeiro, Brazil, September 1991.
“The Body,” Grazer Kunstverein, Graz, Austria, October 6 – 17, 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; Botschaft Festival, Berlin, Germany, July 1992; Hinterhaus, Wiesbaden, Germany, September 1992.
“Gary Hill,” (travelling 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.
“Day Without Art 1992,” Museum of Contemporary Art, Los Angeles, California, December 1, 1992.
“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.
“Video Art ’94: Nature in Motion,” Mánes, Prague, Czech Republic, July – August 1994.
911 Media Arts Center, Seattle, Washington, July 8, 1994.
“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.
Group screening. Pacific Film Archive, Berkeley, California, February 21, 1995.
Solo exhibition. Dia Center for the Arts, New York, New York, May 11 – June 25, 1995.
Sedicesima Biennale Internazionale del Bronzetto Piccola Scultura Padova, Padua, Italy, October 29, 1995 – January 28, 1996.
“Video Collection of the Pompidou Center,” Cinéma Rex, Belgrade, Yugoslavia, November 16, 17, 1996.
The First International Video Festival: “Microwave Video Festival – City Images,” Videotage, Hong Kong, November 27 – 29, 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.
“The Objects in Hangar 2,” Seattle Arts Commission, Building 2 at the former Sand Point Naval Base, Seattle, Washington, September 21 – November 2, 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.
3. Werkleitz Biennial: “sub fiction,” Werkleitz, Germany, September 3 – 6, 1998.
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.
"The Liquid Medium: Video Art,” Queensland Art Gallery, Brisbane, Queensland, Australia, May 29 – July 11, 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 29, 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 – 21 screenings).
“l’écriture vidéophage – les bandes vidéo de Gary Hill.” La Compagnie, Marseille, France, May 1 – 31, 2001 (May 29 & 31 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.
Rose Art Museum, Brandeis University, Waltham, Massachusetts, February 28 – March 6, 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.
“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.
“S1 / salon 2005,” S1 Artspace, Sheffield, England (screenings), January 20, 2005.
"Videoformes 2005: XXth Manifestation Internationale d’Art Vidéo et Médias,” Clermont-Ferrand, France, compilation screening moderated by Rosanna Albertini on March 18, 2005.
“Image, Body, Text: Selected Works by Gary Hill,” San Francisco Museum of Modern Art, San Francisco, California, March 24 – May 30, 2005.
“Temps de video, 1965 – 2005,” CaixaForum, Barcelona, Spain, September 28, 2005 – January 8, 2006.
“New Media Collection, 1965 – 2005: Centre Pompidou,” Taipei Fine Arts Museum, Taipei, Taiwan, April 29 – July 23, 2006.
“On History,” Fundación Santander Central Hispano, Madrid, Spain, February 6 – Spring 2007.
“Gary Hill: Strange Trajectories,” NRW-Forum / IMAI (Inter Media Art Institute), Dusseldorf, Germany, September 15 – October 28, 2007.
"The 2008 Centre Georges Pompidou Exhibition: ‘Heaven for Artists’,” Seoul Museum of Art (SeMA), Seoul, Korea, November 22, 2008 – March 22, 2009.
“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.
“The Estrangement of Judgement,” Jensen Gallery, Auckland, New Zealand, July 21 – August 29, 2009.
“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.
“Glossodelic Attractors,” The Henry Art Gallery, Seattle, WA, March 30 – September 16, 2012
“Beyond Belief: 100 years of the Spiritual in Modern Art,” Contemporary Jewish Museum/SFMOMA, San Francisco, CA, January 28 - October 27, 2013.
“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.
World Wide Video Festival 1989. The Hague: Kijkhuis, 1989.
El Arte del Video/The Art of Video. Program notes. Madrid: Imatco-Atanor, 1989, unpaginated.
Delicate Technology: Japan ’89 Video Television Festival at Spiral. 2 Volumes. Tokyo: Treville, 1989, pp. 109, 110, 113, 114, 116.
3e Semaine Internationale de Vidéo. Geneva: Saint-Gervais Genève, 1989, pp. 63, 107.
Gay, Jean-Jacques. "Deux temps trois mouvements. A propos de ‘Site Recite’ de Gary Hill."Gen Lock 15 (December 1989), p. 23.
Vidéoformes '90: Festival de la Création Vidéo. Program notes. Clermont-Ferrand, France: Festival de la Création Vidéo, 1990, p. 18.
Video Poetics. Long Beach, California: Long Beach Museum of Art, 1990, pp. 3, 10.
OTHERWORDSANDIMAGES: Video by Gary Hill. Copenhagen: Video Gallerie/Ny Carlsberg Glyptotek, 1990, pp. 5, 15.
Passages de l'Image. Paris: Musée National d'Art Moderne, Centre Georges Pompidou, 1990, pp. 73, 75. (In Spanish: Passages de l’image. Barcelona: Centre Cultural de la Fundacio Caixa de Pensions, 1991, pp. 99, 145.)
17th Northwest Film & Video Festival. Program notes. Portland, Oregon: Northwest Film and Video Center, 1990, unpaginated.
Athens International Film and Video Festival. Program notes. Athens, Ohio: Athens Center for Film and Video, 1990, p. 7, 16.
Le Temps des Machines. Valence: Centre de recherche et d’action culturelle (CRAC), 1990, unpaginated.
Bienal de la Imagen en Movimento '90. Madrid: Museo Nacional Centro de Arte Reina Sofia, 1990, pp. 19, 58, 59.
Dallas Video Festival ’90. Program notes. Dallas, Texas: Video Association of Dallas, 1990, unpaginated.
Glowen, Ron. "Camera of the mind: Contemporary Art Center, Seattle." Artweek (February 22, 1990), p. 16.
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.
De Baecque, Antoine. “Iconoclastes, iconolâtres.” Cahiers du Cinema 435 (September 1990), p. 58.
Van Assche, Christine. "Gary Hill: The Imager of Disaster. Interview with Gary Hill." Galeries Magazine (December 1990/January 1991), p. 141.
1991 Biennial Exhibition. New York: Whitney Museum of American Art, 1991, p. 102.
Video Forum Berlin Bestandskatalog. Berlin: Neuer Berliner Kunstverein, 1991, p. 77.
IMPAKT: festival voor experimentele kunst. Program notes. Utrecht: Cultuurcentrum Ekko, 1991, p. 15.
Lageira, Jacinto. "Gary Hill. Une verbalisation du regard." Parachute 62 (April/May/June 1991), pp. 5, 6, 9 – 11.
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, 128 – 131, 134 –137.
Sarrazin, Stephen. Chimaera Monographe No. 10 (Gary Hill). Montbéliard, France: Centre International de Création Vidéo Montbéliard, Belfort, 1992, pp. 24, 25, 29, 39, 40, 80. (Including an excerpt from an interview with Gary Hill).
Van Assche, Christine. Gary Hill. Paris: Editions du Centre Georges Pompidou, 1992, pp. 5, 7, 9, 10, 11, 32, 33, 38, 40, 44, 55, 84, 85, 103. (Including an excerpt from Gary Hill, “Inter-view”).
Videokunstfest: Open Air. Kassel: Filmladen, 1992, p. 17.
Gay, Jean-Jacques. "Surf, drogue et video." Museart 26 (December 1992/January 1993), pp. 122 – 124.
Cooke, Lynne. "Gary Hill: 'Who am I but a figure of speech?'" Parkett 34 (1992), p. 17.
Gary Hill: Sites Recited. Long Beach, California: Long Beach Museum of Art, 1993, pp. 5, 25.
Gary Hill: In Light of the Other. Oxford: Museum of Modern Art Oxford; Liverpool: The Tate Gallery Liverpool, 1993, pp. 11, 28, 30, 34.
Mignot, Dorine. Gary Hill. Amsterdam: Stedelijk Museum; Vienna: Kunsthalle Wien, 1993, pp. 13, 15, 18, 45 – 48, 73. (Including an excerpt from Gary Hill, “Inter-view”).
Van Assche, Christine and Corinne Diserens. Gary Hill. Valencia: Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, 1993, pp. 9, 11, 13 - 15, 36, 37, 42, 45, 48, 59, 88, 89, 107, 124, 144. (Including an excerpt from Gary Hill, “Inter-view”).
ForumBHZvideo 1993. Festival Internacional de Vídeo: Limite. Belo Horizonte, Brazil: Festival Internacional de Video, 1993, pp. 31, 47, 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. 174, 175, 231, 265.
Grout, Catherine. "Gary Hill – La condition humaine de la pensee." Arte Factum 48 (June/July/August 1993), p. 11.
Bruce, Chris. Gary Hill. Seattle, Washington: Henry Art Gallery, University of Washington, 1994, pp. 35, 44, 47 – 49, 51 – 53, 62, 83, 85, 93.
Willis, Holly, ed. Gary Hill. Spinning the Spur of the Moment. Irvington, New York: The Voyager Company, 1994, pp. 3, 8, 15.
Video Art ’94: Nature in Motion. Prague: Mánes, 1994, pp. 18, 19.
Bambozzi, Lucas. “A Crítica do Vídeo. Uma Experiência.” ForumBHZvideo Revista 2 (1994), p. 89.
Thériault, Michèle. Gary Hill. Selected videotapes 1978 – 1990. Toronto: Art Gallery of Ontario, 1994, unpaginated.
Vischer, Theodora, ed. Gary Hill: Imagining the Brain Closer than the Eyes. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, pp. 66, 123, 124. (In German: Gary Hill: Arbeit am Video. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, pp. 71, 129, 130.)
Kandel, Susan. “Gary Hill: Museum of Contemporary Art, Los Angeles.” Artforum 33, 8 (April 1995), p. 87.
Duncan, Michael. “In Plato’s electronic cave.” Art in America 83, 6 (June 1995), pp. 71, 73.
Lestocart, Louis-José. “Gary Hill: Surfer sur le medium / Surfing the Medium.” art press 210 (February 1996), pp. 23, 24, 26.
Quasha, George and Charles Stein. Viewer. Gary Hill’s Projective Installations 3. Barrytown, New York: Station Hill Arts, 1997, pp. 53 – 54, 71, 73.
Dantas, Marcello. Gary Hill: O lugar do outro/where the other takes place. Rio de Janeiro: Magnetoscópio, 1997, pp. 26, 28, 30, 31, 52, 69, 75.
Stals, José Lebrero. Gary Hill: HanD HearD – Withershins – Midnight Crossing. Barcelona: Museu d’Art Contemporani de Barcelona, 1998, pp. 7, 10.
Bélisle, Josée. Gary Hill. Montreal: Musée d’art contemporain de Montréal, 1998, pp. 9, 13, 17, 27, 55.
TV Dinner No. 2 at The Kitchen: Gary Hill and Meg Stuart. Program notes. New York: The Kitchen, 1998, unpaginated.
Parent, Sylvie. “Entrevue avec Gary Hill.” Le Magazine électronique du CIAC 4 (February 1998).
La Chance, Michaël. “Vidéognose.” Spirale, Montreal (May – June 1998), p. 13.
Hill, Gary. "And if the Right Hand Did not Know What the Left Hand is Doing." (German translation). Noëma Art Journal 49 (October-November 1998), p. 83.
Gary Hill: Video Works. Tokyo: NTT InterCommunication Center, 1999, pp. 8, 45 – 47.
Kold, Anders, ed. Gary Hill. Aarhus: Aarhus Kunstmuseum, 1999, p. 114.
Marclay, Christian and Gary Hill. “Christian Marclay / Gary Hill: Conversation,” Annandale (Bard College), Vol. 139, No. 1 (Spring 2000), p. 5.
Morgan, Robert C., ed. Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 1, 33, 36 – 37, 43, 59, 68, 69, 73, 82 – 83, 115 – 116, 147, 154, 163, 164 – 165, 218, 236, 253 – 254, 291, 293 – 294, 299 – 300, 301 – 302, 305.
Gary Hill en Argentina: textos, ensayos, dialogos. Buenos Aires: Centro Cultural Recoleta, 2000, pp. 11, 22 (transcription of text), 25 – 26, 33, 43.
Gary Hill: Instalaciones. Córdoba: Ediciones Museo Caraffa, 2000, pp. 8, 14, 17, 21, 29, 30, 42, 77.
Hill (scape): Gary Hill’s video screening, performance and installation exhibition. Program notes. Hong Kong: Videotage, 2001, pp. 7, 8.
Lageira, Jacinto. Des premiers mots aux derniers silences in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 7, 48 - 53.
Quasha, George and Charles Stein. La performance elle-même in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 15, 60.
Sans Commune Mesure: Image et texte dans l’art actuel. (Paris: Éditions Léo Scheer, 2002), pp. 45, 60.
Rivoire, Annick. “Gary Hill: pionnier de la vidéo: ‘Une émotion circulaire.’” Libération (October 23, 2002).
Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, pp. 38, 136 – 138, 209.
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. 168.
Barro, David. Gary Hill: Poeta da percepção, poet of perception, poeta de la percepción. In Portuguese, Spanish and English. Porto: Mimesis, 2003, pp. 14, 36, 58.
Plate, S. Brent. “Between Cinema and a Hard Place: Gary Hill’s Video Art Between Words and Images.” Criticism 45, 1 (Winter 2003), pp. 114.
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. 18 – 19.
Diez, Renato. “Gary Hill: Immagini contro parole.” Arte 380 (April 2005), pp. 98 – 104.
Zwingenberger, Jeanette. “Gary Hill, quand penser c’est voir.” L’Oeil 555 (February 2004), pp. 24 – 25.
Tiempos de Vídeo. 1965 – 2005. Colección nouveaux médias del Centre Pompidou con la participación de la colección de Arte Contemporaneo Fundacion “la Caixa.” Barcelona: Fundación “la Caixa,” 2005, pp. 92 – 93. In Spanish. Text by Jacinto Lageira.
Sobre la Historia / On History. Madrid: Fundación Santander Central Hispano, 2007, pp. 16, 70 - 71.
Odin, Paul-Emmanuel. L’absence de livre [Gary Hill et Maurice Blanchot – Écriture, vidéo]. Marseille: La Compagnie, 2007, pp. 117, 128 – 139, 144, 217, 294.
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 23, 37, 69, 130, 253, 275, 289, 421, 470, 558 – 561, 591, 624, 640, 641.
Hurrell, John. “Dramatic Video Installations.” EyeContact (March 30, 2009): http://eyecontactartforum.blogspot.com/2009/03/dramatic-video-installations.html.
Copeland, Colette. “Video Rhetoric.” Afterimage, 37, 1 (July/August 2009), pp. 30 – 31.
Gary Hill: o lugar sem o tempo / taking time from place. Rio de Janeiro: Contra Capa Livraria / Mag Mais, 2009, pp. 8, 9, 12, 22, 23.
Copeland, Colette. “Rooted in the Experiential: A Conversation with Gary Hill.” Afterimage, 37, 3 (November/December 2009), pp. 22.
Gary Hill: Viewer. Moscow: GMG Gallery, 2010 (in Russian and English), pp. 22, 23, 72 – 75.
Nothing seems to have ever been moved. There is something of every description which can only be a trap. Maybe it all moves proportionately, cancelling out change and the estrangement of judgement. No, an other order pervades. It's happening all at once; I'm just a disturbance wrapped up in myself, a kind of ghost vampirically passing through the forest, passing through the trees.
A vague language drapes everything but the walls — what walls? The very walls that never vary — my enclosure, so glorious from a distance, stands on the brink of nothing like a four-legged table. What is it? An island with a never-ending approach? A stopgap from when to where? Something to huddle over with my elbows like trestles without tracks, the bases of which are scattered with evidence of unsolved crimes? The overallness of it all soaks through, runs through the holes in my hands and continues to run amok, overturning rocks that should not be overturned, breaking bread that should not be broken.
The sun will rise and I won't know what to do with it. Its beak will torture me as will its slow movement, the movement it invented that I can only reiterate. The quieter and stiller I become the livelier everything else seems to get. The longer I wait the more the little deaths pile up. Bodily sustenance is no longer an excuse. Too much time goes by to take it by surprise.
So much remains. No doubt it can all be counted. Starting with any one, continuing on with any other one until all is accounted for, a consensus is reached. That it can all be shelved in all its quantized splendor, this then is the turf.
These sightings. This scene before me made up of just so many just views (nature's constituency) sits with indifference to the centripetal vanishing point that mentality posits so falsely. Brain, minding business, incessantly constructs an infinite series of makeshifts designed to perpetuate the picture--the one like all others that holds its breath for a thousand words, conversely exhales point zero zero one pictures. This insidious wraparound, tied to the notion "I have eyes in the back of my head," binds me to my double, implodes my being to a mere word as it winds the world around my mouth. A seamless scroll weaves my view back into place--back to back with itself--the boomerang effect, decapitates any and all hallucinations leaving (lo and behold) the naked eye, stalking each and every utterance that breaks and enters the dormitories of perception.
I must become a warrior of self-consciousness and move my body to move my mind to move the words to move my mouth to spin the spur of the moment.
Imagining the brain closer than the eyes.