URA ARU (the backside exists), 1985-86
Video (color, sound); 28:00 min.
Recorded on location in Japan, this work was inspired by the notion of “acoustic palindromes,” aural versions of written palindromes, located in the Japanese language. Hill creates this palindromic world as a site for excavation, uncovering new meanings and images by focusing on reversals and double reversals of spoken words and analogous actions. What ultimately can be seen as an inter-textual weaving of language, image, and time (or what Hill calls, “origami time”) exposes the archetypal protagonists of Noh drama: god, man, woman, lunatic, demon. These dramatis personae appear in and around a series of conceptual vignettes based on the Noh play Lady Aoi. Traditionally represented by a folded kimono at the front of the stage, Lady Aoi is the tale of a sickly court lady, one of Genji’s wives, whose jealousy becomes demonic and must be exorcised for her spirit to rest in the nether world. The Noh scenes become a subtext, mirroring, shifting, and juxtaposing their relationship to the exterior play of characters and culturally idiomatic images of Japan. The work is structured as a sequence of tableaus, each one moving bi-directionally (video plays forwards and backwards) sometimes changing directions more than once. Words and phrases multiply in the “palindromic space” and are further extended by English texts animated and embedded in the images. Electronically generated, they function as a kind of open-ended transliteration, conjuring up word plays and further palindromes that resonate with the spoken Japanese as literally heard, yet are alien to the “natural” order of language as understood by a native Japanese.
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, p. 597.
With Don Kenny, Katherine Anastasia [Katherine Bourbonais], Eda Kazuo.
Producers: Gary Hill, Katherine Anastasia [Katherine Bourbonais].
In Japanese with English titles.
Made in Japan on equipment provided by the Sony Corporation.
URA ARU (the backside exists) was produced while the artist was in Japan as a recipient of the Japan/United States Cultural Exchange Fellowship in 1984 and 1985.
First exhibited as a work-in-progress (without English subtitles) at the International House of Japan, Tokyo, Japan, April 18, 1985.
Gary Hill/Stephen Kolpan Video Works, Byrdcliffe Barn, Woodstock, New York, July 29, 1985.
1985 National Video Festival, American Film Institute, Los Angeles, California, September 19 – 22, 1985 (shown as a work-in-progress).
“Image/Word: The Art of Reading,” New Langton Arts, San Francisco, California, October 8 – November 2, 1985.
Fukui International Video Festival ’85: “Video – Spirit of the Time,” Fukui City, Japan, November 2 – 17, 1985.
Solo exhibition. Whitney Museum of American Art, New York, New York, May 24 – June 15, 1986.
"Poetic License,” Long Beach Museum of Art, Long Beach, California, June 22 – August 17, 1986.
"A Video Primer: Electronic Art from the 80s,” The Katonah Gallery, Katonah, New York, August 17 – September 21, 1986.
The World Wide Video Festival, Kijkhuis, The Hague, The Netherlands, September 17 – October 13, 1986.
"Meet the Makers/Video Vectors: Gary Hill,” Donnell Library, New York Public Library, New York, New York, October 9, 1986.
“Mediaworks: Gary Hill,” Nexus Gallery, Philadelphia, Pennsylvania, October 16, 1986.
"Video: Recent Acquisitions,” Museum of Modern Art, New York, New York, November 27, 1986 – February 10, 1987.
911 Contemporary Arts Center, Seattle, Washington, December 11, 1986.
Centre national d’art contemporain de Grenoble, Grenoble, France, January 6, 1987.
“Video Discourse: Mediated Narratives,” Institute of Contemporary Art, Boston, Massachusetts, February 20 – April 26, 1987.
Whitney Biennial, Whitney Museum of American Art, New York, New York, March 31 – June 28, 1987.
“1987 Salso Film and TV Festival,” Salsomaggiore, Italy, April 8 – 14, 1987.
Daniel Wadsworth Memorial Video Festival, Real Art Ways, Hartford, Connecticut, April 24 – May 8, 1987.
"Terrorising the Code – Recent U.S. Video,” Australian Centre for Photography, Sydney, Australia, September 2 – 27, 1987. Travelled to: Centre for the Arts, Hobart, Australia, September 30 – October 10, 1987; Experimental Art Foundation, Adelaide, Australia, October 14 – 30, 1987; Australian Centre of Contemporary Art, Melbourne, Australia, November 5 – December 6, 1987; Wellington City Art Gallery, Wellington, New Zealand, March 12 – 27, 1988; Artspace, Auckland, New Zealand, April 6 – 22, 1988.
“The Arts for Television.” co-organized by Museum of Contemporary Art, Los Angeles and the Stedelijk Museum, Amsterdam, The Netherlands. Travelled to: Stedelijk Museum, Amsterdam, The Netherlands, September 4 – October 18, 1987; Museum of Contemporary Art, Los Angeles, California, October 6 – November 15, 1987 and to other institutions in the United States and Europe.
“An Evening with Gary Hill,” Northwest Film & Video Center, Oregon Art Institute, Portland, Oregon, October 1, 1987.
15th Annual Northwest Film & Video, Northwest Film & Video Center, Oregon Art Institute, Portland, Oregon. Travelled in the United States and Canada, November 13 – 22, 1987.
2e Semaine Internationale de Vidéo, Saint-Gervais Genève, Geneva, Switzerland, November 16 – 21, 1987.
“Video and Language: Video as Language,” The Renaissance Society at the University of Chicago, Chicago, Illinois, November 22 – December 30, 1987. Travelled to: Los Angeles Contemporary Exhibitions (LACE), Los Angeles, California, December 4, 1986 – January 18, 1987.
’87 Tokyo International Video Biennale, Spiral Hall, Tokyo, Japan, December 5, 6, 1987.
“Degrees of Reality,” Long Beach Museum of Art, Long Beach, California, June 19 – July 24, 1988.
Solo exhibition. Musée d’art moderne, Villeneuve d’Ascq, France, January 19 – February 19, 1989.
Solo screening. Beursschouwburg, Brussels, Belgium, January 24, 1989.
Vidéoformes 89: Festival de la Création Vidéo, Clermont-Ferrand, France, April 20 – 29, 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.
Solo exhibition. “OTHERWORDSANDIMAGES,” Video Galleriet, Huset, Denmark and Ny Carlsberg Glyptotek Museum, Copenhagen, Denmark, April 20 – May 13, 1990.
“A Force of Repetition,” New Jersey State Museum, Trenton, New Jersey, July 21 – September 23, 1990.
Solo exhibition. Moderna Museet, Stockholm, Sweden, November 26 – December 16, 1990. Travelled 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.
"Japan: Outside/Inside/Inbetween,” Artists Space, New York, New York, February 13 – May 23, 1992.
“C’est pas la fin du monde – une exposition des années 80,” Galerie Art et Essai de l’Université de Rennes 2, Rennes, France; La Criée, Halle d’Art Contemporain, Rennes, France; Galerie du T.N.B., Rennes, France, May 12 – June 27, 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.
“16 Dagar,” Nýlistasafnid, The Living Art Museum, Reykjavik, Iceland, June 26 – July 11, 1993.
Fifth Fukui International Video Biennal, Fukui City, Japan, July 30 – August 12, 1993.
“Summer Sunset Theater,” Hiroshima City Museum of Contemporary Art, Hiroshima, Japan, August 13 – 28, 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: Selected Videotapes 1978 – 1990,” Art Gallery of Ontario, Toronto, Ontario, Canada, June 7 – August 28, 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.
Solo exhibition. Dia Center for the Arts, New York, New York, May 11 – June 25, 1995.
“Gary Hill,” (travelling exhibition organized by the Henry Art Gallery, University of Washington, Seattle, Washington), Kemper Museum of Contemporary Art and Design, Kansas City, Missouri, October 14, 1995 – January 14, 1996.
“Die großen Sammlungen IV. Moderna Museet Stockholm zu Gast in Bonn,” Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, Bonn, Germany, July 4, 1996 – January 12, 1997.
“The Digital Video Wall,” Museum of Modern Art, New York, New York, February 21 – April 30, 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.
“Visual Utterance: The Works of Gary Hill,” Pacific Film Archive, University of California, Berkeley, California, February 11, 18, 1998.
“Art Vidéo: catastrophe et nativité,” Musée Royal de Mariemont, Mariemont, France, February 15 and March 15, 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.
Solo exhibition. Centro Cultural Recoleta, Buenos Aires, Argentina, May 17 – June 4, 2000 (May 26, 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 - 21 screenings).
“l’écriture vidéophage – les bandes vidéo de Gary Hill.” La Compagnie, Marseille, France, May 1 – 31, 2001 (May 22 & 24 screenings).
“Gary Hill: Selected Works 1976 – 2003,” Museum of Contemporary Art, Taipei, Taiwan, May 2 – August 24, 2003.
“Continuum: Biennale d’art contemporain du Havre,” Musée Malraux, Le Havre, France, June 1 – September 4, 2006.
Aka Renga/Red Brick House, Yokohama, Japan, June 24 – July 8, 2011.
“Radical Software. The Raindance Foundation, Media Ecology and Video Art,” ZKM | Center for Art and Media Karlsruhe, Karlsruhe, July 1 – January 28, 2018.
“Gary Hill: Momentombs,” Suwon Art Museum, Suwon, Korea, November 26, 2019 — March 6, 2020.
The Fifth Fukui International Video Biennale: Winds of the Media from Asia. Fukui City, Japan: Fukui Audio Visual Center, 1983, pp. 102, 156.
Sei, Keiko. “URA ARU.” Gendaishi techó, Japan 4 (1984 – 85), p. 103.
1985 National Video Festival. Los Angeles: American Film Institute, 1985, p. 34.
Image/Word: The Art of Reading. San Francisco: New Langton Arts, 1985, p. 21.
Fukui International Video Festival ’85: Video – Spirit of the Time. Fukui City, Japan: Fukui Audio Visual Center, 1985, pp. 92, 93.
Hill, Gary. “Notes on URA ARU: A Work in Progress.” Gary Hill/Steven Kolpan Video Works. Woodstock, New York. Program notes, 1985, unpaginated.
Goldberg, Michael. “Video Criticism No. 14.” Video Com, Japan 22 (1985), pp. 154, 155.
Hill, Gary. "URA ARU: The Acoustic Palindrome." Video Guide, Vancouver 7, 4, 34 (1985), pp. 10, 11.
The Third Fukui International Video Biennale: Expansion and Transformation. Fukui City, Japan: Fukui Audio Video Center, 1985, p. 54.
Hanhardt, John G. and Gary Hill. Gary Hill: The New American Filmmakers Series 30. New York: Whitney Museum of American Art, 1986, unpaginated.
Fitzsimmons, Connie. Poetic License. Program notes. Long Beach, California: Long Beach Museum of Art, 1986, unpaginated.
Rankin, Scott. Video and Language: Video as Language. Los Angeles: Los Angeles Contemporary Exhibitions (LACE), 1986, unpaginated.
World Wide Video Festival 1986. The Hague: Kijkhuis, 1986, p. 65.
“Video’s New Wave.” Dial Thirteen (May 1986).
Kolpan, Steven. "Bateson Through the Looking Glass." Video and the Arts (Winter 1986), p. 22.
Fifer, Sally Jo. “Phelan Winners Announced.” Video Networks, San Francisco 11, 1 (December 1986/January 1987), pp. 3, 4.
The Second Australian Video Festival 1987. Paddington: Australian Video Festival Ltd., 1987, p. 15.
1987 Biennial Exhibition. New York: Whitney Museum of American Art, 1987, pp. 150, 168, 211.
Salso Film & TV Festival. 10a edizione. Parma: Comune di Salsomaggiore Terme, 1987, p. 75.
Riley, Bob. Video Currents--Mediated Narratives. Boston: Institute of Contemporary Art, 1987, unpaginated.
The Arts for Television. Los Angeles: Museum of Contemporary Art; Amsterdam: Stedelijk Museum, 1987, pp. 51, 100.
2e Semaine International de Video. Geneva: Saint-Gervais Genève, 1987, pp. 67, 68, 128.
The Situated Image. San Diego: Mandeville Gallery, University of California, San Diego, 1987, p. 4.
“The Southern Circuit… Explained.” IMAGE News, Atlanta (February/March 1987), p. 5.
Bogan, Neill. “Backwards and Forwards with Gary Hill.” IMAGE News, Atlanta (February/March 1987), p. 6.
Rankin, Scott. Letter to the Editor. “Reading between the lines.” Afterimage (May 1987), p. 2.
Tamblyn, Christine. Reply to a letter to the editor. “Reading between the lines.” Afterimage (May 1987), p. 2.
Gavillet, Pascal. “A Saint-Gervais: Semaine Internationale de Video.” Scènes Magazine, Switzerland 13 (November 1987).
Nash, Michael. “Video Poetics: A Context for Content.” High Performance 37, 10, 1 (1987), p. 67, 70.
Durland, Steven. "CRUX." High Performance 37, 10, 1 (1987), p. 97 - 98.
Gary Hill: DISTURBANCE (among the jars). Villeneuve d'Ascq, France: Musée d'Art Moderne, 1988, unpaginated.
Vidéoformes '89: Festival de la Création Vidéo. Clermont-Ferrand, France: Festival de la Création Vidéo, 1989, p. 12.
Les Cents jours d’art contemporain de Montréal 1989. Montreal: Centre international d’art contemporain de Montréal, 1989, unpaginated.
1989 Biennial Exhibition. New York: Whitney Museum of American Art, 1989, p. 211.
OTHERWORDSANDIMAGES: Video by Gary Hill. Copenhagen: Video Gallerie/Ny Carlsberg Glyptotek, 1990, pp. 8 – 15, 26.
A Force of Repetition. Trenton, New Jersey: New Jersey State Museum, 1990, pp. 24, 25, cat. no. 40.
IMPAKT: festival voor experimentele kunst. Program notes. Utrecht: Cultuurcentrum Ekko, 1991, p. 15.
Video Forum Berlin Bestandskatalog. Berlin: Neuer Berliner Kunstverein, 1991, p. 77.
Sarrazin, Stephen. “Objecten die leven Spreken, Tapes die Leren Zwijgen.” Andere Sinema 104 (July-August 1991), p. 24.
Watari, Shizuko. Gary Hill – I Believe It Is an Image. Tokyo: WATARI-UM, The Watari Museum of Contemporary Art, 1992, unpaginated.
Sarrazin, Stephen. Chimaera Monographe No. 10 (Gary Hill). Montbéliard, France: Centre International de Création Vidéo Montbéliard, Belfort, 1992, pp. 16, 20, 24, 25, 32, 34 - 36, 43, 49.
Van Assche, Christine. Gary Hill. Paris: Editions du Centre Georges Pompidou, 1992, pp. 68, 69, 94, 95, 101.
Cooke, Lynne. "Gary Hill: 'Who am I but a figure of speech?'" Parkett 34 (1992), pp. 17, 18.
Mignot, Dorine. Gary Hill. Amsterdam: Stedelijk Museum; Vienna: Kunsthalle Wien, 1993, pp. 53 – 57, 70, 108.
Van Assche, Christine and Corinne Diserens. Gary Hill. Valencia: Instituto Valenciano de Arte Moderno (IVAM), Centre del Carme, 1993, pp. 72, 73, 98, 99, 105, 106.
Cooke, Lynne, Bice Curiger and Greg Hilty. DOUBLETAKE: Kollektives Gedächtnis & Heutige Kunst. Vienna: Kunsthalle Wien, 1993, pp. 175, 231, 265.
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. 29.
Bruce, Chris. Gary Hill. Seattle, Washington: Henry Art Gallery, University of Washington, 1994, pp. 64, 83, 97.
Willis, Holly, ed. Gary Hill. Spinning the Spur of the Moment. Irvington, New York: The Voyager Company, 1994, pp. 2, 3, 10, 15.
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. 112, 120, 123. (In German: Gary Hill: Arbeit am Video. Basel: Museum für Gegenwartskunst; Ostfildern: Cantz, 1995, pp. 118, 126.)
Gary Hill: Tall Ships, Clover. Stockholm: Riksutställningar, 1995, pp. 48, 58.
3e biennale d’art cotemporain de lyon: installation, cinéma, vidéo, informatique. Paris: Réunion des musées nationaux, Biennale d’art contemporain, Paris, 1995, p. 87.
Duncan, Michael. “In Plato’s electronic cave.” Art in America 83, 6 (June 1995), p. 72.
Die großen Sammlungen IV. Moderna Museet Stockholm zu Gast in Bonn. Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 1996, p. 320.
Lestocart, Louis-José. “Gary Hill: Surfer sur le medium / Surfing the Medium.” art press 210 (February 1996), cover, p. 24.
Quasha, George and Charles Stein. Tall Ships. Gary Hill’s Projective Installations 2. Barrytown, New York: Station Hill Arts, 1997, p. 42.
Dantas, Marcello. Gary Hill: O lugar do outro/where the other takes place. Rio de Janeiro: Magnetoscópio, 1997, pp. 14, 18 – 20, 69, 74.
Joachimides, Christos M. and Norman Rosenthal, eds. The Age of Modernism. Art in the 20th Century. Ostfildern-Ruit, Germany: Verlag Gerd Hatje, 1997, p. 603.
“Imagem éloqüente. Gary Hill: O Lugar do Outro.” Revista Veredas (July 1997).
Stals, José Lebrero. Gary Hill: HanD HearD – Withershins – Midnight Crossing. Barcelona: Museu d’Art Contemporani de Barcelona, 1998, pp. 10, 11.
Bélisle, Josée. Gary Hill. Montreal: Musée d’art contemporain de Montréal, 1998, p. 35.
TV Dinner No. 2 at The Kitchen: Gary Hill and Meg Stuart. Program notes. New York: The Kitchen, 1998, unpaginated.
“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. 15, 20.
Gary Hill: Video Works. Tokyo: NTT InterCommunication Center, 1999, pp. 7, 9, 11, 39 – 41.
Kold, Anders, ed. Gary Hill. Aarhus: Aarhus Kunstmuseum, 1999, pp. 100, 101, 102, 114.
Marclay, Christian and Gary Hill. “Christian Marclay / Gary Hill: Conversation,” Annandale (Bard College), Vol. 139, No. 1 (Spring 2000), p. 3.
Morgan, Robert C., ed. Gary Hill. Baltimore: PAJ Books / The Johns Hopkins University Press, 2000, pp. 65, 69, 75, 78 – 79, 86, 117, 138, 159, 160 – 161, 237, 261 – 262, 282 – 286.
Gary Hill en Argentina: textos, ensayos, dialogos. Buenos Aires: Centro Cultural Recoleta, 2000, pp. 10, 23, 24, 37 – 38, 43.
Gary Hill: Instalaciones. Córdoba: Ediciones Museo Caraffa, 2000, pp. 16, 22, 26, 27, 48, 76.
Hill (scape): Gary Hill’s video screening, performance and installation exhibition. Program notes. Hong Kong: Videotage, 2001, pp. 6, 8.
Lageira, Jacinto. Des premiers mots aux derniers silences in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, pp. 6, 25, 64 – 71.
Quasha, George and Charles Stein. La performance elle-même in Gary Hill: Around & About: A Performative View. Paris: Éditions du Regard, 2001, p. 69.
Pytlinski, Deanne. “Liminality and Ritual in the Art of Gary Hill.” Chicago Art Journal 11 (Spring 2001), pp. 63 – 64.
Gary Hill: Selected Works and catalogue raisonné. Wolfsburg: Kunstmuseum Wolfsburg, 2002, pp. 117 – 122.
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. 172.
Barro, David. Gary Hill: Poeta da percepção, poet of perception, poeta de la percepción. In Portuguese, Spanish and English. Porto: Mimesis, 2003, pp. 12, 20 – 21, 34, 56.
Unfolding Vision: Gary Hill, Selected Works 1976 – 2003. Taipei: Museum of Contemporary Art, 2003, pp. 118 – 125.
Samaniego, Alberto Ruiz de. “Gary Hill and Maurice Blanchot: Dialogues at the Threshold.” Dardo magazine, 2 (June – September 2006), pp. 146 – 179.
Arts: Le Havre 2006: Biennale d’art Contemporain. Gand: Éditions Snoeck, 2006, pp. 66 - 67.
Odin, Paul-Emmanuel. L’absence de livre [Gary Hill et Maurice Blanchot – Écriture, vidéo]. Marseille: La Compagnie, 2007, pp. 91 – 110, 121.
Quasha, George and Charles Stein. An Art of Limina: Gary Hill’s Works and Writings. Barcelona: Ediciones Polígrafa, 2009, pp. 311, 374, 418, 482, 484, 485, 597, 624, 647.
Gary Hill: o lugar sem o tempo / taking time from place. Rio de Janeiro: Contra Capa Livraria / Mag Mais, 2009, pp. 18, 19.
Gary Hill: Viewer. Moscow: GMG Gallery, 2010 (in Russian and English), pp. 24, 25, 36, 37, 38, 39.
Written text:
Translations of acoustic palindromes
“( )” – denotes a silenced sound
“ / ” – denotes a pause
HARA – belly
ARA (H) – inside remains of a fish
(U) MON – gate
NOMU – to drink; inhale
(EN) NOH – noh drama noh scene
HONNE – disclosing one’s true feelings
(U) KAGIRI – bounds; limits
IRI/ – entering
GAKU – frame
(U) OMOKAGE – visage
EGAKO/ – paint; to draw
OMOU – to think
(A) MUKAIATTE – face to face
ETAI (NO SHIRENAI) – mysterious; strange
AKUMA – evil spirit
IKI – breath
IKI – breath
KURO – black
ORU (K) – to weave
WATAKUSHI – I
ISHUKU/ – to recoil
HIHO – secret treasure (slash over O) noh scene
O (H) I (H) – to cover (slash over O)
KOTOKOTO – a sound (knock on the door); a noise
ONOONO – either; each
IMA – sitting room
AMI – a net
ONOONO – either; each
OTOKO (TOK) – a man
ANO – that
ONNA – woman
YAGAI – fields
YAGAI – fields
ANO – that noh scene
ONNA – woman
AKAAKA – bright; shiny
AKAAKA – bright; shiny
HADA – skin
ADA (H) – grunge; revenge
Amai - sweet
YAMA – mountain
YUKA AIYOKU – floor passion
(U) KOI YA AKUI – love or hate
MUKADE – centipede relating legs light
EDA – bough bend the boughs of talking trees
KUMO – spider spider webs are taut
ASU – tomorrow; sometime in the future
USA – sadness; melancholy
GYOSHI – gaze; stare (line over O) noh scene
ISHO (YG) – costume; design (line over O)
(UKUF) ATO – later; trace
OTAFUKU – moonfaced woman
UKU – to float
IKIMONO – living thing
ON/ – a sound
OMIKI – sacred sak’e
IKI/ – breath
SHI – death; poetry
IRODORI – colors (combination)
KATANA – sword
ANATA (K) – you
IRODORI – colors (combination)
ISHIKI – consciousness; senses
ISHIKI – consciousness; senses noh scene
IKI/ – breath
SHI – death; poetry
ISHI – stone ISHI – stone
WA – circle AU – come together IRO/ – color KO – arc OKORI – beginning; source
(U) SAWARA – certain kind of fish ARAWASU – to write; print (A) OMOI – thought noh scene YOMO – the four cardinal directions (line over 2nd O) OMOIDE – memory
YUME OH OH – dream oh! oh! HO HO EMU (Y) – smile UME – plum
repeat (A)
ASA (G)/ – morning YA YA – arrow, arrow AIAIGASA – lovers under an umbrella
repeat (A)
HANAMI – flower viewing
IMA/ – now
NA (H) – green
repeat (A)
E ( ) SAKASA – upside down ASAKAZE – morning wind
ICHIMAI – one piece of paper YAMI/ – darkness CHI – earth
HARAGEI – nonverbal communication noh scene
IEGARA (H) – lineage
UKIYO – the floating world; transitory (line over O)
OI/ – cover (line over O)
IKU – to goURA – reverse; the backside; hidden meaning noh scene ARU – to exist
AKURYO – devil
(O) IRUKA – is there?
AKURYO – devil noh scene
(O) IRUKU – is there?
HIGAN – equinox
NAGI (H) – calm; lull
EMA – votive tablet AME – rain ANNOYO – the other world noh drama OI/ – cover ONNA – woman
IKE/ – pond MAO – satan WAMEKI – scream
UGOKIMAWARU – to move around
HITODAMA – evil spirit from the dead
AMADO/ – sliding shutters
SAKKAKU – hallucination noh scene UKA/ – to grow wings AKU – to open HAOTO (ideogram) – sound of wings flapping