Last year marked an important anniversary for The Girl Chewing Gum (1976), a film that made history in the structural/materialist movement, but John Smith’s films, videos, and installations are hard to classify. The British artist studied in the 1970s at the Royal College of Art, after which he became involved in the activities of the London Filmmakers Co-op.
The Shard was nuzzling a blanket of low-lying clouds as I approached Carlos/Ishikawa, the gentle flute of Don’t Look Now’s (1973) bedroom scene a welcome earworm, thanks to Shana Moulton’s Sand Saga (2008) and a stop at Emalin not long previous on the Condo trail.
The Museum of Rhythm is a speculative institution that engages rhythm as a tool for interrogating the foundations of modernity and the sensual complex of time in daily experience. When entering a larger cultural infrastructure such as the art museum, it juxtaposes modern and contemporary art with ethnographic research, cinema, music, and scientific instruments to set in resonance a critical apparatus and conduct exercises in Rhythmanalysis.
Besides the current exhibition, Stag Nation, at dépendance in Brussels, you recently had solo shows at the Dallas Museum of Art and at the Kunsthalle Lüneburg. It seems to me that these shows are connected by a certain idea about American culture—something that was visible in your older works, too, but has become even more prevalent.
Including the works of over 50 international artists in an exhibition which will extend over the entire museum showing area of over 3000 square metres, the exhibition is set up as a kind of exercise of distance which pushes us to take a look at our present from far away.