Tuesday, October 29, 2013 - 17:10
Specters of Godard
MAK Center for Art and Architecture

Sunday, November 3, 2013 | 5:30 PM

(Please note the change to Daylight Savings Time)

MAK Center for Art and Architecture

at the Schindler House

835 North Kings Road

West Hollywood, CA 90069


The MAK Center for Art and Architecture at the Schindler House is pleased to present Specters of Godard, a panel discussion considering film and video works by post-conceptual artists who trace their origins to the cinema of Jean-Luc Godard. Organized and moderated by Dr. Juli Carson, Associate Professor at UC Irvine and director of its Critical and Curatorial MFA program and the University Art Galleries, the panel will include filmmaker and installation artist Kerry Tribe, Israeli-American artist Michael Moshe Dahan, and artist and curator Constanze Ruhm. Selections from the panelists' films will lead off the conversation.

Specters of Godard is presented in advance of the MAK Center's Garage Exchange Vienna-Los Angeles project featuring Constanze Ruhm & Christine Lang and First Office (Anna Neimark and Andrew Atwood), opening Thursday, November 7, 7-9 PM at the Mackey Garage Top in Mid-City. For the exhibition, Ruhm and Lang's experimental film Cold Rehearsal will be screened in an installation designed by architects First Office.

Kerry Tribe's double projection piece, Here & Elsewhere (2002, 10:30 min, loop) engages with one of Godard's most familiar themes, memory and narrative. Each channel of the projection frames the same scene from slightly different positions as the voice of Peter Wollen interviews his daughter Audrey in a loose reprisal of Jean-Luc Godard's and Anne Marie Miéville's 1978 television documentaryFRANCE/TOUR/DETOUR/DEUX/ENFANTS. Asking "Does memory happen in the present, or does it happen in the past? Does a photograph tell you that something has actually happened," Tribe's work underscores the double movement of time in the process of remembering something.

The focus of Constanze Ruhm's Cold Rehearsal shifts away from the characters that were located at the core of earlier productions: Nana, (Vivre sa vie), Giuliana (Deserto Rosso), and Hari (Solaris), whose identities and stories have been re-scripted and rendered in new versions in the framework of the X Characters series, with Crash Site / My_Never_Ending_Burial_Plot constituting its symbolic ending. Cold Rehearsal deals with a new character: former director/actor Hans, who once used to be a successful, famous director, but is now in his decline. He becomes the main character entangled in a scheme orchestrated by a number of dead actresses who plot revenge. Hans slips on a banana peel, falls down a stairway (a prop from a T.V. show), and finally dies. The film recounts the story of the ordeal he undergoes in the few seconds of his fall and death, which are stretched to ninety minutes of film time. In his death fantasy, he re-encounters the most important women (characters) of his life (actresses/lovers, nurses, mothers...) and as well, himself as a child. Finally, he understands that he is dead.

In 1976, Godard commissioned the design and fabrication of a 35mm motion picture camera that would be as compact as a 8mm and as self-contained as the video Portapak. Several years later, he received a prototype for the Aaton 35-8, a camera that, while small and portable, suffered from myopia and was simply too loud. Michael Moshe Dahan's film Seven Points of Failure (2013, 79 mins, 35mm color, sound), and its companion short Two Points of Failure (2013, 13mins) investigate the compulsion to repeat and the desire to look again more closely as failed operations that at once add information while obfuscating understanding. The invention and early failure of the Aaton 35-8 in the late 1970's comes at a critical time in the history of cinema, a moment in which the dominant indexical analogue machinery of the film camera and film negative began their slow, inevitable demise. The operative mode of Two Points of Failure is to point to an object which at the moment of its inception was destined to die, and is now already dead.  This film simultaneously functions as the index of a disappearance and the remainder of the object that has been extirpated.


Kerry Tribe works primarily in film, video, and installation. Focusing on the mechanics of representation--particularly cinematic representation--its metaphoric potential and its engagement with reality, her art addresses processes of thought and their relationship to subjectivity, narrative, place and time. Tribe's work has been the subject of solo exhibitions at the Power Plant in Toronto, Modern Art, Oxford, Camden Arts Centre in London and Arnolfini in Bristol. It has been included in recent significant exhibitions at the Hammer Museum in Los Angeles, the Whitney Museum of American Art in New York and the Hirshhorn Museum and Sculpture Garden in Washington, DC. The recipient of a Creative Capital grant and a USA Artists Award, her work is in the public collections of the Museum of Modern Art, the Whitney Museum, the Hammer Museum, the Orange County Museum of Art and the Generali Foundation, among others.

Constanze Ruhm is an artist and curator. Since 2006, she has been Professor for Art and Media at the Academy of Fine Arts in Vienna. Her work has appeared in international exhibitions, film festivals, projects in public space, publications, and symposia. Filmography: Cold Rehearsal (2013), Trailer Park (2011) with Christine Lang, Crash Site / My_Never_Ending_Burial_Plot (2010), X Love Scenes / Pearls without a String (2007), X NaNa / Subroutine (2004), X Characters / RE(hers)AL (2003/4), A Memory of the Players in a Mirror at Midnight (2001),Evidence (1999), Apartment (1999), Travelling / Plan 234 / Extérieur Nuit(1999/2005).

Israeli-American artist Michael Moshe Dahan spent the first decade of his career as a Hollywood film producer and production executive before coming to image and filmmaking as a conceptual practice. He has shown at compact/space Gallery, an LA/Berlin artist collective, the Irvine Fine Arts Center, and the UCLA Wight Invitational. Dahan is currently a candidate for MFA at the University of California Irvine, where he is a fellow at the Claire Trevor School of the Arts, as well as a recipient of the Medici Circle and University of California Institute for Research in the Arts grants.

Juli Carson is Associate Professor in the Department of Art at UC Irvine where she directs the Critical and Curatorial MFA Program and the University Art Galleries. Her essays on conceptual art and psychoanalysis have been published in Art Journal, Documents, October, Texte zur Kunst and X-TRA, as well as in numerous international anthologies and catalogues. She is author of Exile of the Imaginary: Politics, Aesthetics, Love (Vienna: Generali Foundation, 2007) and The Limits of Representation: Psychoanalysis and Critical Aesthetics (Buenos Aires: Letra Viva Press, 2011). Her forthcoming book, The Conceptual Unconscious: A Poetics of Critique, will be published by PoLYpeN.


The MAK Center for Art and Architecture at the Schindler House is principally located at 835 North Kings Road in West Hollywood. Public hours are Wednesday through Sunday, 11 AM-6 PM. Regular admission is $7/$17 with guidebook, Schindler By MAK; students and seniors, $6/$16 with book; free for Friends of the MAK Center and on Fridays, 4-6 PM. Parking is available at the public structure at the northeast corner of Kings Road and Santa Monica Boulevard.

For further information please visit MAKCenter.org or call (323) 651-1510.