From the trace repoduced by a single drop out is created a series of digital landscapes that provide the backgrounds for the flight of the Zenonian arrow towards void. The absence of information in a drop-out creates the space which defines a coincidental arrow on collision course with the proverbial flying equation… asymptote signifying nothing. The central, interfaces the french word vide with the english void… these meet in the real world of the river Vidus as it flows through Void the town. …
Continue reading “vide0void The Trailer”
Performance: Tina Keane, Michael O’Pray profiles Tina Keane’s career so far for Performance Magazine, 1988 pdf here. …
Continue reading “Media Snake”
‘Made in response to a cassette full of soundworks sent to me by David Cunningham sometime in 1981. The ones I used were titled “Voice”, “Body “, and “Rapid”. David went on to use them as different versions on his CD “GhostDance” and “voiceworks” and forgot about the versions he had sent to me-although he did use images from “The Sounds of These Words” for the front and back covers of “voiceworks”. …
Continue reading “Soundtapes (1982)”
‘A second sequence of a walking woman (a key theme in art from Duchamp to Giacometti and Michael Snow) asserts actual space, here an art school corridor, and then depicts closely related staggered shots of a woman repeatedly crossing her legs until a final glimpsed moment of voyeuristic revelation.’ Al Rees …
Continue reading “Black Skirt (1979)”
‘All concepts undergo historical change, and the concept of narrative has shifted since this piece was made. Watching an artwork concerned to open out the narrative devices utilised by mainstream film, it is interesting to ask whether what at the time it was made might have seemed a deconstruction of the structure of narrative could now be seen as no less narrative in its construction than mainstream films made today, or indeed the films it sought to deconstruct. …
Continue reading “Interplay (1980)”
“When Partridge began to explore the then new-fangled edit-suite in the late 1970’s, he incorporated all these elements and added to them the montage film tradition (suitably altered) at a time when extreme duration and the single take were still seen as defining the nature of video as against cinema. This was far-sighted in staking out the artist’s claim to, so to speak, cut and paste videotape well ahead of its commercial exploitation in advertising and television. …
Continue reading “Episodes-Interposed (1979)”
Postcard for ‘Neon Diver’, 1990 pdf here.
‘Neon Diver’, British Films 1991 pdf here. …
Continue reading “Neon Diver”
ACGB programme for Video Artists on Tour; 1985 pdf here.
‘Starting from Scratch’, an article on Transmission Gallery’s ‘Glasgow Events Space’ by Graham Caldwell for The LIST, February 1986, includes information on Atherton’s ‘Death In Glasgow’.pdf here
Advert for Kevin Athertonís The Television-Live from Glasgow 1986. pdf here
Directory, The television-live from Glasgow 1986. pdf here …
Continue reading “The Television”
Echoes, B&W publicity postcard, 2000.pdf here
Echoes Article 1988 by Nik Hougton. pdf here …
Continue reading “Echoes”
