An element of a drum kit is once again picked up in ‘After Three Minutes’ (2007), a double video projection above the gallery’s temporary ceiling. This new work re-presents ‘Three Minutes’ (2004), a silent video in which a cymbal is filmed under strobe lighting so that, shot from above and with no clear human presence, it becomes a dazzlingly visual rather than sonic object. Conscious that, in this first version, standard video equipment misses more than half the double strobe’s 60 light flashes per second, Sala re-filmed it projected at the Irish Museum of Modern Art, Dublin, using a security camera that further heightened that sense of technology not capturing what we take for granted by splicing its thrashed rhythm into only two stills per second. Now the cymbal stutters from dramatic flare to near darkness with a wholly different pulse to the earlier piece. ‘After Three Minutes’ projects both videos alongside and in synchronicity with each other, but never at the same time as the works in the lower level; it can be viewed directly from the gallery’s mezzanine or as diffused light through the translucent ceiling from the dark, empty gallery below.
Haroon Mirza interview
After his clients’ negative response to Adebar and Schwechater, Kubelka moved from Vienna, Austria to Stockholm, Sweden.His friend, painter Arnulf Rainer, commissioned him to make a film about Rainer. Before Kubelka was able to purchase film for the project, he laid out patterns on pieces of paper. He made the film out of two strips of film stock—one transparent and one black—and two strips of magnetic sound—one with no signal and one with continuous white noise. Kubelka named the film after Rainer as thanks for sponsoring the project and as a “compromise” in the event that he was disillusioned with the result.Arnulf Rainer premiered May 1960 in Vienna, where most of the audience walked out of the screening. Kubelka has stated that after the premiere, he “lost most of [his] friends because of Arnulf Rainer“.
Plants, wood, metals, electronic components, strobe light, sound recording, textile, automated mechanisms
“I´d like to give up Imitation and Illusion and I´d like to enter the higher drama of Celluloid, 2 dimensional film stripes, individual images, nature of perforation and emulsion, projector operations … Light as energy creates its own objects, shadows and textures. If you take the facts of the retina, the flicker mechanism of film projection than you can make films without logic of language.”