黑料不打烊

Artist Talk, Saturday December 1, 2pm Kerry Tribe鈥檚 filmic practice attends to the formal operations of her chosen media, often deploying it to investigate the subject of memory. Subjectivity and its representation has been a consistent theme throughout her work that engages film鈥檚 systems of looping, repetition and duration. Tribe鈥檚 work complicates the construction of narrative time from the viewer鈥檚 real time experience, often exploring the gray areas between the authentic and the scripted, and the collective and the individual. Tribe鈥檚 Near Miss is the second work in a trilogy dealing with the phenomenology of memory. It is a five-minute-long filmic attempt to reenact an event the artist experienced a decade ago. In each of Near Miss鈥� three nearly identical 鈥渢akes,鈥� a scene is enacted as seen through the windshield of a car in a nighttime snowstorm. The view through the car鈥檚 windshield fills the projection screen, the windshield wipers franticly keeping the view clear. From the passenger position, the viewer witnesses the apparent passing of road signage as the car follows blurry taillights. In every take, the car ultimately swerves and spins out, finally coming to a stop. At the point that the car stops, the image cuts to black and another take begins. Near Miss can be understood as another examination by Tribe in how to communicate the subjective experience. The film is accompanied by a set photograph and a changing series of textual accounts of the original event as understood by members of the film鈥檚 production team. Kerry Tribe (b. 1973) is an artist based in Los Angeles and Berlin. She has had solo exhibitions at Art 28 Statements, Basel; REC, Berlin; Galerie Masonneuve, Paris; Southern Exposure, San Francisco; and Los Angeles Contemporary Exhibitions. Her work has also been shown at Kunst-Werke Berlin; The Generali Foundation, Vienna; ARTSPACE, Auckland; 36th Edition International Film Festival, Rotterdam; Kunsternus Hus, Oslo; SMAK, Ghent; T