13BC, Fatal Act September 21 – December 7, 2019

Piano Music by Jason Moran 2019. Stereo sound, 15 min.

When Horses Were Coconuts 2019. 4K video for monitor, color, silent, 7 min.

ENTRANCE LEVEL

Straight Flush 2019. 2-channel digital projection, color, sound, 65 min.

Act 1 2019. HD video for monitor, color, silent, loop

Corpse Cleaner 2016/2019. Digital projection, color, sound, 18 min.

LOWER LEVEL Straight Flush

In 1959, ex-U.S. Air Force Major Claude in the United States, and straddling R. Eatherly was in the Veterans Admin- the Utah-Nevada state line along which istration Hospital in Waco, Texas. It casinos crowd, capitalizing on their wasn’t his first stay. A decade and a location as the eastern-most gambling half of botched robberies, hot checks, town in the state. For three nights prior and harebrained schemes resulted to the shoot, the military carried out in court-ordered commitment to the exercises, blacking out the electrical hospital multiple times. He was alter- grid and laying fake minefields, as 300 nately diagnosed as schizophrenic, paratroopers dropped from helicopters depressed, and “devoid of any sense to practice variations on the recapture of reality,” and he underwent insulin of a civilian airport taken by enemy coma and electroshock treatments. forces. In the days of the shoot, Civil Eatherly’s case received far more media Air Patrol Cadets marched and carried attention than other veterans whose out drills to the shouts of their com- symptoms wouldn’t be formally recog- manders, and on the final day, a storm nized as PTSD until 1980. A narrative surged across Wendover where, as luck had emerged in the trials, newspaper would have it, the clouds split around articles, and made-for-TV movies that the airport, saving the set from the began to run with, and to fictionalize, worst of the weather. These sounds the “Eatherly affair”: that his crimes, carried into the space of the barracks attempted suicides, and general inca- and the film, where Lily Gladstone, Bill pacity to become a productive member Sage, and Dana Wheeler-Nicholson of society was the consequence of kill time, gamble, smoke, and read a profound guilt over his role as the the screenplay, traversing histories military weather pilot whose “all clear” of land use, Hollywood, and military report enabled the atomic destruction testing. They play actors, scenarists, of Hiroshima. Others were uncon- and script supervisors in the process vinced, seeing him as nothing more of a rehearsal and revision of the than a con man, fraud, gambler, and liar script. Two characters appear in sound who dodged jail time by feigning mad- alone. Patrick Winczewski, a German ness and remorse. director and actor known for providing the dubbed voices of the American A letter for Eatherly arrived at the stars Tom Cruise and Morgan Freeman, hospital in 1959 and offered a different takes up the words of Anders, while explanation: that his crimes were not pianist Jason Moran composes and just the expression of an individual performs as Charlotte Zelka, the Amer- guilt asking to be punished, but also ican pianist and partner of Anders the symptom of a general condi- who typed his letters when his arthritis tion. This was the condition of living prevented him from writing. amongst technological systems of production and destruction that had Borrowing from the conventions of eclipsed the human capacity to ade- documentaries and feature films quately imagine their consequences. alike, Straight Flush remains provisional The letter was written by Günther and disarticulated, left midway through Anders, a German philosopher and a process of production. It gathers the anti-nuclear activist for whom atomic shots, soundtracks, texts, and lighting weapons epitomized and made unmis- effects that together might consti- takably visible this broader situation, tute the building blocks of a film, yet pushing the human species and the attempts to hold them in tension and world at large into a “time of the end” arrhythmic synchronization. As Eath- that could not be exited as long as erly writes, drugged from the hospi- the threat of nuclear proliferation tal, “please excuse the continuity.”2 remained. He and Eatherly began a long correspondence, which discussed 1. Günther Anders and Claude Eatherly, Burning Conscience: The Case of the Hiroshima the work of anti-nuclear organizing, Pilot, Claude Eatherly, Told in His Letters to attempts to lobby for Eatherly’s release Günther Anders(New York: Monthly Review from the hospital, and a film that never Press, 1962), 28. came to be: Bob Hope’s attempted 2. Anders and Eatherly, Burning, 77. biopic of the life and crimes of Eatherly, a film that Anders warned stridently against, arguing that it would replace him with a facsimile and falsify the most “fatal act” of the century.1

Straight Flush takes shape in the nega- tive space of this unmade film, extend- ing Anders’s rejection of the proposed movie and articulating a broader refusal of the iconic images and atomic aesthetics that shaped public memory and sought to nullify revolt against nuclear proliferation, pollution, and the exploitation of indigenous land. It was filmed in the barracks of the decom- missioned Wendover Air Force base, just north of Dugway Proving Ground, one of the largest weapons testing site Piano Music by Jason Moran Act 1

A video from 1987, one year after Cher- In Straight Flush, the recordings are The moon rises to the east over the nobyl, shows Günther Anders reading interspersed amongst the recordings barracks of the decommissioned air “Die beweinte Zukunft” (The Weeping of Winczewski’s readings of Anders’s base, and the internal filters of the Future), a story he wrote in 1961, when letters, slipping between practice ARRI Amira camera slot into place his published correspondence with sessions caught in the background and one after the other. The resulting shot Claude Eatherly comes to a close. The fragments of a score that shape the passes from dusk to day, day to night, tale reworks the fable of Noah and pathos of any given moment on screen. and back to dusk, a relentless loop of a the flood, offering a version in which Moran also plays Zelka in the sense process usually hidden between takes. Noah designs a massive fleet of arks that his music articulates a set of tenta- to safely bear all of humanity through tive compositions and recombinations A digital camera gathers information the coming disaster but is unable to which draw on her performances and by translating light into the electrical convince the rest of his species to take the composers she played. Like Straight charge stored by its sensor. This infor- the threat seriously. In this pointed Flush itself, these are neither finished mation can be processed after shooting parable of nuclear annihilation, Anders independent works nor a supplement to radically transform the appearance again insists that it is our incapacity intended to score an already completed of what has been recorded, such as to adequately imagine that dooms us film. Rather, they are provisional efforts by applying a LUT (Look Up Table), a to inaction and to simply waiting for that remain unresolved, rehearsals in set of numbers that change the RGB the “day after tomorrow”, warning (in search of a theme. color values of an image. But such the words ascribed to Noah) that when processing can also take place even the flood comes, “it will be too late to 3. Ibid. 85. before the light reaches the sensor, as remember and too late for mourning.” the neutral density (ND) filters inside In the video, Anders sits at a table, the Amira show. An ND filter aims to bent over the text he reads from. Other reduce “the amount of light reach- books are scattered in front of him, ing the sensor, with no other visible along with a small glass of wine. When effect,” in the words of ARRI’s own the camera pans slightly to keep him in promotional materials: to diminish light the frame as he leans and speaks, the evenly across the spectrum, leaving no microphone of the audio engineer juts discernible trace in the distortion of into the shot, until the camera corrects expected color. Unlike chemical film, once more and hides it from view. One however, which does not register red can’t help but notice his hands. They within the visible spectrum, digital sen- are so wracked with arthritis that the sors “require a small amount of this ‘far fingers splay diagonally across each red’ light to render skin tone as healthy other as if broken. Between one frame and vibrant,” binding this fantasy of and the next, the wine glass is suddenly neutral vision to social precepts and emptied, the cut hiding the interval in racial hierarchies outside the camera, which a pause was taken and the hands of what constitutes the healthy, the grasped the glass. vibrant, and the correct.

Anders already struggled with arthri- The problem of how to modulate the tis during the time of his letters to light that reaches an eye, film, or sensor Eatherly, so much so that many of is central both to the history of atomic them were typed by his wife Charlotte weaponry and testing, and to how the Zelka, an American concert pianist. visual record of such tests became Zelka is briefly mentioned in the cor- some of the most circulated images of respondence. In addition to concerns the twentieth century. Photographs of over her health (“it is a scandal how bomb viewing parties on the outskirts much one depends on one’s body,” of Las Vegas show rows of specta- Anders writes) and her translation into tors in dark sunglasses staring at the “American” of his Commandments of none-too-distant blast with cocktails in the Atomic Age, he also acknowledges hand. Advanced camera technologies how he is “exploiting her as a typist, developed by the US military sought although she belongs to the piano.”3 not only a spectacularly high frame rate Zelka studied with Artur Schnabel at able to freeze the unfolding detonation Julliard as a teenager and performed but also to handle an excess of light so with the influential new music ensem- great that it could not be recorded as a ble Die Reihe [The Series] in Vienna. legible image. When it is captured pho- When she returned to California in the tographically, this excess can produce 1970s, having separated from Anders, moments of inversion, the disarming she co-founded the Almont Ensemble, flip of tone into its opposite. In Minor commissioning new works and perform- White’s 1955 photograph The Black Sun, ing the compositions of Frank Campo, we see that titular sun over an Oregon Friedrich Cerha, Alban Berg, Ernst barn in winter, as though an impossi- Krenek, and others. ble eclipse still bathes the harvested crops in cold light. (Of the photo, White In this commission of original piano writes: “The sun is not fiery after all, music, which also forms part of the but a dead planet. We on earth give it soundscape of Straight Flush, American its light.”4) The inversion is the result artist and jazz pianist Jason Moran of overexposure solarization, caused by plays Zelka, in two intertwined senses. so much light passing through the lens He plays her as a sonic actor, making that the silver-halide crystals of the film audible the person whose voice does are destroyed, leaving that brightest not appear in the correspondence yet area of the shot with zero density of through whose hands the exchange was metallic silver and thereby inverting made possible, an off-screen interlocu- its tone. White claimed that The Black tor and translator continually inflecting Sun was an accident rather than an what will rarely bear her name. intended effect, as the cold caused the Corpse Cleaner shutter to remain stuck too long in the When Günther Anders cautions Claude together original objects and facsimi- open position. Yet this accident and its Eatherly against accepting the offer les with no distinction between them. resulting defamilarization of a stereo- from Bob Hope Productions to make a Like Siegfried Kracauer’s description typical American landscape manages film of the pilot’s life, he claims that he of a German film studio in 1926, “the to give oblique image to something speaks from experience: that he lived old and the new, copies and originals, harder to capture than an atomic blast. in Hollywood for years and knows how are piled up in a disorganized heap Namely, the toxic effects of industrial- the industry works, insisting that it will like bones in catacombs.”7 They are ization and military testing, including distort Eatherly’s efforts into something meant to be seen only to be rented and infrastructural networks and large scale unrecognizable, a falsified copy starring dislocated to other sets and settings, extraction and manufacturing, which a “smiling, good looking actor.”5 What to help transpose a scene from 2019 in often remain invisible other than in Anders doesn’t tell Eatherly, however, New York to whatever time and place. their delayed malign effects on living is the specificity of his experience with In Corpse Cleaner, the props become the organisms. In the case of weapons test- Hollywood. Because in addition to stars themselves, bathed in lighting ing and war games, this invisibility is writing a script for Charlie Chaplin that set-ups that derive from pulp genres, further cloaked by the test sites’ default never came to fruition, Anders worked from erotic thriller to fantasy, horror to locations on indigenous land and in in the margins of the film industry, noir. And the Steadicam and its oper- zones, like Dugway Proving Ground including as a janitor in a costume and ator glide through it all, pivoting and just south of the Wendover Air Base, prop house called Hollywood Custom winding amongst the cheap duplicates wrongly considered to be at a “safe” Palace. In his diary in March 1941, he that themselves require the unseen distance from human habitation. In notes that, “Even though I am classified work of cleaning, maintenance, and case anyone wishes to get closer, they as an enemy alien and as an unskilled upkeep. are blocked by fences, barbed wire, and worker, I have nonetheless found a threats of reprisal or felony trespassing job. Although the job is rather odd. I 5. Anders and Eatherly, Burning, 28. that keep the fatal technologies out of have become history’s corpse cleaner.” 6. Quoted in Paul van Dijk, Anthropology view, glimpsed only when a convoy rolls There, in a “twelve-story colossus, the in the Age of Technology: The Philosophical through town. palace where I spend my working days, Contributions of Günther Anders (Amsterdam: Rodopi, 2000), 10–11. a museum of the entire costume past Yet fences able to keep humans out of humanity,” he found himself carrying 7. Siegfried Kracauer, “Calico-World: are notoriously incapable of keeping out a truly ironic labor: cleaning replica The UFA City in Neubabelsberg,” in The Mass Ornament: Weimar Essays, trans. in the particulate and liquid drift of “German attack” boots at a time when and ed. Thomas Levin (Cambridge, MA: fallout, nerve gas, or toxic rain. And the he had fled Europe to avoid persecution Harvard University Press, 1995), 282. fact that such tests continued largely by the Nazis. “We flee the original,” he unimpeded throughout the twentieth writes, “and then run the risk, a few century, in spite of strident protests, years later on the opposite side of the is a sign of just how effectively their world, to have to clean the duplicates consequences were excused by the for pay!”6 discourse of accident, as if reducible to single and regrettable instances At once a freestanding work and the of mismanagement or unforeseen epistolary postscript to Straight Flush, disaster, individual human errors or Corpse Cleaner exits the empty barracks tricky shifts in the wind. This discourse to descend into the crowded jumble of of contingency and mishap is itself no a working prop house and its arsenal accident. It serves to cover over the of replicas and leftovers. Swapping careful planning and decisions involved Long Island City for Hollywood, the at every stage of weapons testing and gradual sweep of the camera through development, the calculation not only Encore/Eclectic Props becomes the of the lethality of the arms deployed but occasion to return to what was left also of who will bear the brunt of its unasked by Straight Flush, with that effects and the degree to which it might film’s Script Supervisor (again played be publicly tolerated. Ongoing prepa- by Dana Wheeler-Nicholson) picking rations for war hinge not only on the up loose threads. She composes letters production of willful accidents but also back to Anders and Eatherly, moving on a battle over visibility. They seek to through the gaps of their exchange to restrict the images produced to single further trace the logic of the copy and spectacles with no fallout, as if effects the stand-in, drifting from fake German can be produced without leaving a towns built to be bombed in the Utah trace. desert to contemporary redemptive blockbusters about art historians sav- 4. Quoted in Herbert Blau, The Dubious ing artifacts from Nazi hands. Spectacle: Extremities of Theater, 1976–2000 (Minneapolis: University of Minnesota Press, 2002). The film was shot on a hot summer day in the windowless space of the prop house, rearranging the disparate materials found within to construct a path for a continual Steadicam shot. Rather than an edit of archival foot- age cut together in order to sketch a way through these scattered histories, the slow passage of the camera is a montage without cuts, a compression and set of disjunctions, collisions, and echoes assembled in physical space. The inanimate props at Encore/Eclectic are gathered in loose categories within the prop house: cemetery, Christmas, dinosaur, postal service, safari, arcade, Hol- lywood, and on from there, mixing When Horses Were Coconuts Good Times

In 1951, CBS News was on location literally inverted, flipped 180 degrees so Floor for the atomic bomb tests at French- that the surface of the river becomes a The installation as a whole takes its man Flat, Nevada. Camera operators, quicksilver sea. name from the approximately 2,400 positioned at a great enough distance square feet of broadloom carpet laid from the blast site to avoid damage, 8. Mott repeatedly describes the specificity throughout the first exhibition of Fatal of this “African” waterfall as the Mogambi in were able to capture a usable image, all of his books. We use his writing not only Act at 80WSE. Manufactured by Phila- but the sound made by the explosion as the basis of When Horses Were Coconuts, delphia Commercial, the particular pat- was inadequately recorded. According which is paraphrased from one of his titles, but tern is called Good Times, with the What excerpts from each of the following books by to differing accounts, this was because Mott are also read aloud by the cast in Straight a Blast color-way. Both its 20-year the sound equipment was ruined by the Flush, The Audio Theater Guide: Vocal Acting, commercial warranty and its dizzying shockwave, because it was too far away Writing, Sound Effects and Directing for a Listening scatter of particles suggest its intended Audience (Jefferson, NC: McFarland & Company, to get a good recording, or because the 2009); Radio Sound Effects: Who Did It, and purpose as “hospitality carpet,” to be resultant audio didn’t sound properly How, in the Era of Live Broadcasting (Jefferson, installed in high-traffic areas that seek cataclysmic. In his various memoirs, NC: McFarland & Company, 2005); Radio Live! to amplify the experience of being in a Television Live!: Those Golden Days When Horses writings, and oral interviews, Robert Were Coconuts (Jefferson, NC: McFarland & space away from work or home, an ex- L. Mott, an influential Foley artist for Company, 2003); Sound Effects: Radio, TV, and ceptional site of leisure, travel, or play. television, radio, and film, also relays Film (Waltham, MA: Focal Press, 1990). Along with hotels and movie theaters, varying and incompatible accounts of casinos are the most extensive users of how, given three turntables, 20 minutes, such carpets, flooding their floors with and the CBS sound library, he created notoriously garish patterns to produce a the sound to accompany this first tele- visually riotous ground which cries out vised footage of the bomb. to be seen yet is supposed to be ulti- mately ignored, just one component part The central element he used was a in an overall plan for the derangement recording listed in the CBS sound of the senses. effects library as the “Mogambi Water- fall.” This “African”8 waterfall was the There are varying accounts as to why go-to record that sound engineers casino carpets are so busy, colorful, used for many purposes, but which and tangled that they become almost here Mott “sweetened,” playing it painful to look at. Some in the industry backwards, slowed down, and com- suggest that the carpets derive from a bined with other explosion recordings, projected image of shoddy luxury and forming the basis of the slow roaring opulence: casinos were referred to as sound we still associate with the bomb. “red carpet joints,” a history invoked Although a Mogambi watercourse does by the patterned carpet tiles covering exist in the Democratic Republic of the lower galleries of the Douglas Hyde the Congo (DRC), the tributary tends in this iteration. (These tiles also echo to only be referred to by that name perhaps the most famous contempo- in nineteenth-century accounts by rary use of red carpet, its ubiquitous European missionaries and explorers. role in major film premieres, to be This colonial construct is unsurprising walked on by stars who pass through in the context of a Foley library, given the flashing cameras of paparazzi on the entertainment industry’s fast and their way into the dark of the theater.) loose use of very specific sites across Others suggest that this ugliness is the African continent as sets and wholly intentional, driving the eyes stand-ins for generic colonial para- upwards towards the screen or table dises or sites of exotic danger. One at hand to consolidate focus on the such “African” outpost is portrayed in process of gambling itself. According the John Ford picture Mogambo, a film to Bill Friedman, author of Designing released two years after the French- Casinos to Dominate the Competition (the man Flat tests. Titled by its producer Bible of casino design), the lack of out- after a Hollywood nightclub but falsely side light means that carpets become translated as “the Greatest” in its 1953 a crucial element to bolster brightness trailer, Mogambo was filmed on location and feed into the excitement of players, in such varied African countries as the “because the only time visitors see the DRC, Kenya, Uganda, and Tanzania, floor in front of them is when they are as well as at the British MGM studios. walking around the casino. Reasonably Perhaps more unusually for Hollywood, intense colors amplify players’ excite- however, its soundtrack was not scored ment as they approach the gaming by a Western composer appropriating equipment. Players do not look down at supposedly “African” melodies, but the carpet while playing, so the color- rather featured original recordings of ing is not a distraction.”9 musicians in the DRC. However, the most commonly cited When Horses Were Coconuts was also reason for the chaotic patterns is also filmed on location at a waterfall, the most practical: to hide dirt and although this time on a cold June wear and therefore retaining the image morning in upstate New York with a of permanent newness. As Bill Hughes, consumer–grade underwater handheld the Director of Marketing Operations camera. Thus the film, like the attempt at the Peppermill in Las Vegas puts to produce sound for one of the most it: “You don’t want a real plain carpet iconic images of the postwar period, is because people drop cigarettes on also analogical. It once more displaces it and spill drinks on it.”10 Friedman and recreates the visual effect of the concurs on this point, insisting that bomb, but this time it refuses the infa- carpets “should have a small or tight mous image of the mushroom cloud. pattern, so the inevitable nonremovable This proxy footage is made strange and stains will be less likely to show.” But his continual emphasis on excitement stairs’ rise and run in intervals of time, — as in his claim that gamblers “are while tethering the indefinite duration high-energy people […] looking for of the building’s life to the fixed period thrills”— belongs to an industry model defining the labor and craft that went that has rapidly declined. The bulk of into its making. profits no longer comes from high-risk, high-reward games like blackjack and Gallery poker that resulted in familiar images To enter the gallery, one passes be- of the card counter or hustler aiming tween two sets of red doors, similar to to beat the system and strike it rich. the light-lock double doors of the Rain- Instead, contemporary casinos profit bow Casino in Wendover just north- not from volatility but from volume, west from the barracks. These doors from the “slow-bleed” grind of video and all the windows of the gallery are poker and virtual slots that promise no coated with a semi-transparent vinyl. big score but hours and hours in what Unlike the internal ND filters ofAct 1, Natasha Dow Schüll calls “the zone” this color was not designed to generate of interaction with rigorously tuned an even reduction of light across the and adaptive software.11 Spectacular as spectrum but rather to produce aes- they may be, the carpets are no match thetic and technical effects. for the chaotic system of information displayed on the screens themselves, The color is based on RC-3, or “Rose interfaces that cause the surrounding Chocolate”, a vinyl manufactured by the world to vanish, leaving a space where US-based company Lightgard Spectral time is measured by adrenal flow, Control Window Films. It is a carefully declining funds, and how many ciga- calibrated hue intended for “manipulat- rettes fill the ashtray. ing light transmissions in Vivariums,” filtering out “the UV blue-green spec- Walls trum” to create lighting conditions that If the red carpet derives from tech- will not disrupt the diurnal sleep cycles niques of distraction, disorientation, of nocturnal creatures under laboratory and concealment, the gray paint that containment and observation. frames When Horses Were Coconuts, Corpse Cleaner, and Act 1 emerges The red vinyl also analogically repro- from a history predicated on opposite duces the casino’s fantasy of luxury, tendencies, promising focus, neutral- exception, and separation from the ity, and the clear visibility of desired world around it. The light that enters effects. Its tone is known as “Middle the gallery, both through the doors and Gray” or achromatic gray, a reference the windows, is thus doubly processed, standard in photography used to cal- its brightness canceled and restored ibrate light meters and in conjunction only by the projections and monitors with a spot meter to achieve adequate that fill the space. No matter the weath- exposure. Posed precisely between er or time of day outside, it’s always absorption and reflection, Middle Gray twilight within. works to produce a flatness against which technologies of vision and re- 9. Quoted on Anthony Curtis’ Las Vegas Advisor, online at: https://www.lasvegasadvisor.com/ cording can be tested neutrally. In this question/2005-07-31/ way, the gray hinges on the prospect of carefully mediating an intended 10. Quoted in “There’s a Reason for Quirky CasinoCarpet Design,” Floor Daily, online at: outcome without introducing any inter- https://www. floordaily.net/flooring-news/theres ference that will skew a result. This is -a-reason-for-quirky-casino-carpet-design the reason that the gray is also used 11. Natasha Dow Schüll, Addiction by Design: extensively in digital image work, to Machine Gambling in Las Vegas (Princeton: calibrate LED screens and to coat the Princeton University Press, 2012), 199. walls of color correction and editing rooms, seeking to create a bracketed —13BC space that will avoid any distortion. It is a tone designed to target the point of intersection between a technology and those who make use of it, facilitating a duration of total focus that permits one’s surroundings to fall away and cast no shadow over an activity able to forget the creeping passage of time.

At the Douglas Hyde, the Middle Gray paint is echoed by the gallery’s Brutal- ist concrete architecture, designed in 1978 by Austrian London-based archi- tect Paul Koralek of ABK Architects. The high ceiling tiles of its main lower gallery were hand-cast and painstak- ingly assembled by Chartered Builder Liam Foran, as were the concrete spiral and cantilevered staircases. Each level of the internal staircase was poured in a single day, stretching out the building process step by step, measuring the 13BC is a research and production Straight Flush is generously funded by 13BC would additionally like to thank: collective for moving images, founded the Rosenkranz Foundation. and led by Evan Calder Williams, American Academy in Berlin Lucy Raven, and Vic Brooks. Co-produced by 80 Washington Square Fala Al Urfali East Gallery, with additional support Matthew Barney This exhibition is presented in from the Center for Land Use Isadora Barney partnership with 80 Washington Square Interpretation Jonathan Bepler East gallery, New York University (NYU), Suri Bieler New York. Written, directed, and edited by Simon Castets Evan Calder Williams, Lucy Raven, Clover The exhibition Fatal Act was co- and Vic Brooks Matthew Coolidge commissioned by 80 Washington Georgia Harrell Square East gallery and the Rosenkranz Starring: Lily Gladstone, Bill Sage, Georgina Jackson Foundation, with additional support Dana Wheeler-Nicholson, and Susan Kirr from La Biennale de Montréal, and the Patrick Winczewski Sabu Kosho Center for Land Use Interpretation. Piano: Jason Moran Michael Larsen Cinematography: Nicolas Doldinger Tracey Larsen Special thanks to Robert Rosenkranz Executive producers: Robert Rosenkranz, Jon Lawrence Huron Nicola Lees, and Alex Smith Maybelline Production assistants: Eva Cilman, Laura McLean-Ferris Cooper Campbell Rachel McIntyre Sound mix: Florent Barbier Metropolitan Salt Flats Café Assistant camera: Scott Surman Monthly Review Press Gaffer: Wayne Dahl Philippe Pirotte Grip: Dan Nestel Lucas Quigley Sound recording: Jeff Hall Aideen Quirke Hair and makeup: Jodi Gleave Roda Giles Round Special thanks to Monthly Review Captain Scott Press and Willow Glen Films Swiss Institute Aurora Tang * Marcus Werner Hed Richard Williams Corpse Cleaner was commissioned Anna Winger by La Biennale de Montréal and Jörg Winger Philippe Pirotte.

Written, directed, and edited by Evan Calder Williams, Lucy Raven, and Vic Brooks

Voice: Dana Wheeler-Nicholson Cinematography: Nicolas Doldinger Editor/colorist: Beau Dickson Assistant camera: Alex Purifoy Gaffer: Edward “Al” Roberts Audio Recording: Ron Kuhnke Grips: Gabriel Rodriguez-Fuller, George Rayson, Carbon Therrien Production assistants: Ishraki, Irina Jasnowski, Austin Rivera-Greene

Special thanks to Eclectic/Encore Properties, Inc.

*

When Horses Were Coconuts was filmed and edited by Evan Calder Williams, Lucy Raven, and Vic Brooks.

Text from the writings of Robert L. Mott

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