I GARY HILL 7 November 1993-9 January 1994 Museum of Modern Art Oxford In Light of the Other Details from Tall Ships, 1992. Collection Lannan Foundation, Los Angeles Gary Hill (b.1951) is one of the most impor­ tant international artists currently working with video. This major exhibition provides the first opportunity in Britain to survey his work in depth. The selection comprises five recent video installations: Inasmuch as It Is Always Already Taking Place (1990), I Believe it is an Image in Light of the Other (1991-92), Tall Ships (1992), Between 1 & 0 Gary Hill (1993) and a specially commissioned new In Light of the Other piece, Learning Curve.

7 November 1993- 9 January 1994 The roots of Hill's work lie in both American and European culture. New developments in cybernetics, communications theory, per­ formance, video technology, conceptual art and poetry in America since the early 1960s have informed his concern with language and perception. The roots of his fragmenta­ tion of the body, meanwhile, can be argued to lie in Cubism, Freud and French Surrealist photography.

Hill explores how our consciousness is con­ structed through a combination of lan­ guage and the visual image. In his complex video installations, spoken and written texts play a central role. Hill's pulling apart of the material of language utilises French literary thought and criticism, through the writings of Maurice Blanchet; gnostic writ­ ing, and philosophy. Yet his art is not thea- move to engage with them yet they do not respond. We are left in a strange double limbo of intimacy and distance, which forms the hallmark of Gary Hill's work.

A 40 page fully illustrated catalogue with essays by Robert Mittenthal, Corinne Deserens, Stuart Morgan, Bruce Ferguson and Lars Nittve and an introduction by Chrissie lies will be available. Special exhibi­ tion price £7.95.

A collaboration with Tate Gallery Liverpool. I Believe It Is an Image in Light of Tate Gallery Liverpool: 26 February- 2 May 1994 the Other, 1991-1992. Collection Stedelijk Van Abbemuseum, Sponsored by Pioneer High Fidelity (G.B.) Ltd, Art Ser­ Eindhoven vices Management, McCollister's Moving and Storage Inc., Martinspeed Limited.

@PIONEER' The Art of Entertslnment ~!t~-ntotnodo.. •ITrono pottotlon retical. In the darkened spaces of his instal­ MC~?o!~~~~R:~ MM!!NS~~~D lations, we encounter language as part of a The exhibition has received financial support from the poetic enquiry. Arts Council of Great Britain's Film, Video and Broadcast­ ing: Great Britain Touring Fund and the International In three of the five pieces shown, sound is Initiatives Fund. absent; only the silent image remains. Hill positions these images outside their usual frame of the television screen by disman­ tling the technical equipment itself. Video monitors are peeled away to their inner tubing; images are projected down from inside long metal cylinders hanging from the ceiling; the frame of the image becomes the page of an open book. In four of the five installations the body is a major component. In Hill's work we encounter it as we do language: in its most essential state, naked, vulnerable, intimate.

In Tall Ships, frame, text and sound disap­ Learning Curve, 1993. pear, leaving the body to stand alone. Courtesy Donald Young Gallery, Seattle Twelve figures walk silently towards us from both sides of the long, dark corridor, watching us impassively. We instinctively Gary Hill: Single Screen Gary Hill: Day Seminar Lower Gallery Videotapes Programme

Gary Hill has produced a major Sunday 7 November Inflections body of single screen videotapes 11am - 5pm Photographs by Paul Kilsby which have become well-known Human Anatomy Lecture Theatre, internationally. In conjunction with University of Oxford, South Parks Road the exhibition, a retrospective pro­ Includes a special performance by gramme of his single screen work, Gary Hill, George Quasha and including several rarely-seen tapes, Charles Stein . will be shown daily at MOMA. The interplay between word and image To coincide with the exhibition, the and the deftness of Hill's ed iting Museum of Modern Art is bringing and camera techniques can clearly together a group of international be seen in this substantial selection speakers to explore issues in Gary of work from 197 4 to the present. Hill's work. The seminar will exam­ ine the role of the French philoso­ Programmed by the Film and Video pher Maurice Blanchet's ideas and Umbrella the changing emphasis of text, silence and distance in Hill's recent Programme 1 work. Air Raid 1974, 6 mins. Full Circle 1978, 3 mins. Raymond Bellour; writer; literary Primary 1978, 2 mins. critic; Director of Research at the Elements 1978, 2 mins. Centre National de Ia Recherche Paul Kilsby, Eve from 'After Van Mouth Piece 1978, 1 min. Scientifique, Paris. Eyck' Picture Story 1979, 7 mins. Commentary 1980, 1 min. Lynne Cooke; Curator, DIA Art Around & About 1980m , 5 ins. Foundation, New York; art critic. Videograms 1980-81, 14 mins. Paul Kilsby's photographs take the Processua/ Video 1980, 11 mins. form of small scale tableaux in Dr. Paul Davies; Lecturer in Tale Enclosure 1985, 5 mins. which reproductions of paintings Philosophy, University of Sussex. Mediations 1979-86, 5 mins. are variously overlaid with objects. Often the paintings are initially Gary Hill; artist. Programme 2 cropped, framed, cut, torn or burned. These manipulations pro­ Happenstance (Part One of Many George Quasha; poet; associate vide personal and allusive interpre­ Parts) 1982-3, 6 mins. publisher and editor, Station Hill tations of the original images, Why Do Things Get In a Muddle? Press; performance artist; musician; raising issues of authenticity and (Come on Petunia) 1984, 32 mins. collaborator with Gary Hill. URA ARU (The Backside Exists) an alternative to the orthodox or 'textbook' descriptions of their 1985-86, 28 mins . Plus one other speaker to be con­ meaning. firmed. Programme 3 The selection, arrangement and Primarily Speaking 1981 -83, 19 mins. Chair; Chrissie lies; Curator, lighting ofthese objects draws on Incidence of Catastrophe 1987-88, Museum of Modern Art Oxford. the European tradition of still-life 44 mins. painting, with its dual exploration Site Recite (A Prologue) 1989,4 mins. Tickets £15, concessions £8. of the material and symbolic Booking essential- limited places. aspects of objects. The pho­ To book tickets, telephone (0865) tographs are concerned with an 722733. investigation into the way we A MOMA 2 event encounter and react to paintings, bringing our own obsessions to bear upon another's vision. Talks and events Diary

BREATHING FORM Also performances by OCTOBER 29- 31 October 26 Anthony Howell -The Clare Carswell, crischeek, Philip A weekend of performances psychoanalysis of performance Hall, Louise Massaoudi, Gary relating to the body and language art* Stevens and Aaron Williamson A live art event presented in at other venues in Oxford from 30 Breathing Form- Stuart Oxford by the Ruskin School of Friday 29- Sunday 31 October. For Brisley performance, 6- 9pm Drawing and Southern Arts in further performance and booking 31 Breathing Form- Caroline collaboration with the Museum of details, write enclosing anSAE to Bergvall performance, Spm Modern Art, Oxford and other the Ruskin School of Drawing, 74 venues. High Street, Oxford OX1 4BG. NOVEMBER 2 lan Hunt- Lip Reading by BREATHING FORM Swaying Lamps- the BREATHING FORM PERFORMANCES Performance of Complicated LECTURE SERIES Poetry* Stuart Brisley Tuesdays, 4.30pm 7 Gary Hill: In Light of The Saturday 30 October 6-9pm Examination School, High Street, Other opens Oxford Inflections: Photographs by From hand to mouth to foot Anthony Howell, lan Hunt, Paul Kilsby opens From foot to mouth to hand Susan Melrose, Gray Watson, From mouth to foot to hand Gary Hill Day Seminar Mel Gooding, Stuart Brisley. 11 am- Spm Human Anatomy 'Proposition ... an action, a series See Diary for dates and details. Lecture Theatre, University of actions, a set of images, a per­ of Oxford, South Parks Road formance.' A specially commissioned dura­ 8 Evening Lecture: Professor tiona! performance by Stuart Bris­ Donald Kuspit talks on THE DONALD KUSPIT ley which exoplores the activity of 'Hollywood, Depression and labour and the disintegration of LECTURE High Art: the collapse of avant­ progress. This is the last of a cycle garde models of art and the of works performed in Quebec, Monday 8 November 1993 myth of the fine artist' Prague, Barcelone, Trento and Cafe MOMA, 7pm 9 Susan Melrose - Somatog­ Dresden. The audience may enter raphies/Properties/Proprieties* and leave at any time. Professor Donald Kuspit 11 Life Drawing Workshop: Hollywood, Depression and High Reframing the Figure Caroline Bergvall Art: the collapse of avant-garde models of art and the myth of the 6.30- 8.30pm Sunday 31 October Spm fine artist. 13 Drawing Workshop: Physical Donald Kuspit is Professor of Art Presences 10am- 4pm Strange Passage History and Philosophy at the State 16 Gray Watson- Performance Strange Passage uses a text written University of New York at Stony Ritual: the Sacred and the by the artist for a chorus of voices Brook, Andrew Dixon White Pro­ Perverse* and subtle light constructions, to fessor at Large at Cornell University 18 Life Drawing Workshop: trace the uneasy make-up of iden­ and contributing Editor to Artfo­ Reframing the Figure tity through themes of sleep and rum . His recent books include The 6.30- 8.30pm sexuality, language and oblivion. Cult of the Avant-Garde Artist, Duration: 40 minutes. Restricted Signs of Psyche in Modern and 20 Drawing Workshop: audience- booking advisable. Post-Modern Art and The Dialectic Reflected Selves 1Oam - 4pm of Decadence.

Diary continues • I

Diary MOMA Exhibitions On Tour continued

23 Mel Gooding - Dada Then 'Positive Lives. Responses to HIV' Positive Lives: The Response to HIV. and Now* National Museum of Photography, Photodocumentation by NetWork Photographers for the 1Oth anniver­ 25 Life Drawing Workshop: Film and Television, Bradford sary of the Terence Higgins Trust. Reframing the Figure 23 November- 28 February 7994 Large version: 200 photographs 6.30 - 8.30pm MOMAOxford Small version: 30 photographs 77 April - 79 June 7994 27 Drawing Workshop: Memories and Dreams 'Sol LeWitt- Structures 1962-92' 10am- 4pm Fruitmarket Gallery, Edinburgh EXHIBITIONS AVAILABLE NOW 30 Stuart Brisley- Ideas about 73 November- 9 January 7994 european performance before 'Bracha Ettinger: Matrix- Border­ 1990* 'The Raw and the Cooked lines'. New Work in Clay in Britain' Museum of Modern Art, Oxford DECEMBER 'A World of Difference. Images of 76 January- 70 April 7994 Oxfam across the World'. 2 Life Drawing Workshop: Glyn Vivian Art Gallery, Swansea Photography exhibition to cele­ Reframing the Figure 78 June- 37 July 7994 brate Oxfam's fiftieth anniversary 6.30 - 8.30pm 4 Photo-Workshops: Public and 'Robert Doisneau: The Dragon in the Treasure Private 10am- 4pm A Retrospective' House'. Behind the Myths of Tibet. Musee d'Art Contemporain de A photographic exhibition by 11 Photo-Workshops: Pieces and Catriona Bass Puzzles 10am- 4pm Montreal, Canada 20 January- 24 April 7994 'Life After Chernobyl: A Hard Rain'. Photographs by the Byelorussian JANUARY 'Life after Chemobyl: A Hard Rain' Photographs by Yuri Ivanov photographer Yuri Ivanov 8 Photo-Workshops: Words Denbigh Library Museum & Gallery and Pictures 1Oam - 4pm 9 January - 7 February 7994 'East Timor 1974-1992. Years of 9 Gary Hill: In Light of The Aberystwyth Arts Centre Silence: Images of Resistance'. Other closes 2 April- 74 May 7994 Inflections: Photographs by Paul Kilsby closes

16 The Raw and the Cooked: NEW EXHIBITIONS AVAILABLE Details from Janet Moore, New Work in Clay in Britain Touring Exhibitions Assistant opens The Raw and the Cooked: (0865) 722733 New Work in Clay in Britain * Breathing Form Lecture Series on Tuesdays at 4.30pm at the Contemporary Art from Argentina Examination School, High Street, Oxford Chinese Posters from the Cultural Revolution

A Tale of Two Cities: Photographs of Mexico City and Beijing by Mag­ num photographer Stuart Franklin Education for Schools, Colleges of Further and Higher Education, Community Groups and the Public

SATURDAY WORKSHOPS workshops (fees include VAT at and Graeme Scott, sculptor, com­ 17.5%). bine their strong and idiosyncratic All materials are included in the visions of the human f igure alone Drawing Workshops workshop fees but participants and in relationship. The exhibition gives a platform to the work of for adults and young people should have their own 35mm cam ­ era, simple or sophisticated, which artists whose life experiences might Three one-day workshops in which they can bring with them to use . otherwise have prevented their participants will explore with artist Places are limited to fifteen per ses­ contribution from being seen . Andrew Walton how we come to sion. To book, please telephone Organised by ITHACA. understandings of ourselves and (0865) 722733. Sponsored by The Platinum Trust, the world through our bodies and J A Clark Charitable Trust, Southern the way we draw them. Life Drawing Arts, The Wei/come Foundation Ltd and Cherwe/1 District Council. Physical Presences for people with previous life dra wing Saturday 13 November, 1Oam-4pm experience Reflected Selves Reframing the Figure EDUCATIONAL FRIENDS Saturday 20 November, 1Oam-4pm Four Thursday evening workshops: OFMOMA Memories and Dreams 11 , 18, 2 5 November; 2 December: The Museum's special membership Saturday 27 November, 10am-4pm 6:30-8:30pm group for schools and colleges. This course will use life drawing to Fee £12.50 per workshop or £35 The Museum's Educational Friends examine the framing of visual and for advance bookings for all three scheme offers valuable benefits sensory perceptions. Sessions will workshops (fees include VAT at which include unlimited free access relate to the current exhibitions 17.5%). to the Museum's exhibition pro­ and w ill include an illustrated gramme for teaching staff, senior All materials are included in the selective survey of the presentation students and accompanied groups workshop fees. Places are limited of the figure in painting and pho­ as well as discounted booking rates to fifteen per session . To book, tography. Led by Paul Kilsby, pho­ to educational activities and please telephone the Museum on tographer and art historian, with events. Admission to talks is free Oxford (0865) 722733. model Juliet Shelley, dancer and to teachers, lecturers and senior Alexander practitioner. students. Photo-Workshops Fee £6 per workshop, or £20 for The Museum also arranges In-Ser­ vice Study and Practical sessions for for adults and young people advance booking for all four work­ shops (fees include VAT at teachers from individual or associ ­ Photo-artist Elizabeth Williams will ated schools. lead three one-day workshops for 17.5%and materials). Why not join us? Annual subscrip­ young people and adults which will Numbers on this course are limited tion is only £58.75 including VAT explore how a variety of photo­ so booking is essential. Phone (which can be reclaimed by educa­ graphic and photocopying tech­ Judith Crowle on (0865) 722733 for tional establishments). niques can be used to draw, piece further details. together and construct visual To find out more, or to become an images about our own identities. Educational Friend, please telephone or write to: Public and Private EXHIBITION lan Cole Saturday 4 December, 1Oam-4pm Director of Education Programmes Pieces and Puzzles Look Out Museum of Modern Art Saturday 11 December, 1Oam-4pm Tuesday 21 December 1993 - 30 Pembroke Street Words and Pictures 9 January 1994. Education Studio. Oxford OX1 1 BP Saturday 8 January 1994, 1Oam-4pm An exhibition of work by two Tel: (0865) 722733 artists with disabilities which Fax: (0865) 722573 Fee £15 per workshop, or £40 for explores aspects of the human con­ advance bookings for all three dition. Achille Formis, painter, The Museum gratefully Admission acknowledges the support of the £2 .50, concessions £1.50. Friends following: of MOMA free. Free admission Wednesday 10am-1pm and Thurs­ A.B.S.A. day 6-9pm. Art Services Management The Baring Foundation Friends of MOMA Black Sun pic Join the Friends of MOMA and Danby Bloch enjoy a list of benefits including British Gas Southern Museum of Modern Art Oxford free entrance to the galleries and Charina Foundation 30 Pembroke Street regular mailings of exhibition Chepping Editorial and Design Oxford OX1 1 BP information. For further details David Cohen Family Charitable Telephone (0865) 722733 pick up a leaflet from the front Trust desk. The John S Cohen Foundation Cooper Charitable Trust Access The John Ellerman Foundation Full access is provided for disabled The Esmee Fairbairn Charitable Opening Times people. Parking for disabled dri­ Trust vers is available in St Ebbe's Street. Foundation for Sport and the Arts Galleries and Bookhouse GDG Design and Print Ltd Tuesday-Saturday 1Oam-6pm. 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