Hollis Frampton — Pas de Trois (1975)

Pas de Trois (1975)


Footage from the New York State Fair, the “stripper” tent lit by strobes, then a little girl dancing in a different area. Hollis Frampton shoots the dancers, but also the strobes, a crack in the tent where someone peers through, and a fishtank, all accompanied by commentary.

“An analysis of film’s persistent relationship to sexuality, mediated by allusions to early cinema’s flicker, and other aggressive qualities of the cinematic apparatus.”

Laure Prouvost, ‘AFTER AFTER’ (2013)

Laure Prouvost “After After”

Hidden behind a door is ‘After After’, a small, completely blacked out room in which sculptures, paintings and objects placed throughout the space flicker into sight with the flashes of a strobe light, giving rise to what the artist calls ‘a different kind of 3D film’. Though framing the end of the project, ‘After After’ does not offer concrete answers to the raised questions. Instead, the viewer must take on the role of a detective, examining the objects as clues of evidence from the events in ‘The Wanderer’s narratives. – See more at: http://www.outset.org.uk/england/projects/laure-prouvost-before-before-and-after-after-lyon-biennale1/#sthash.2a895c6c.dpuf


Groupe de Recherche D’Art Visuel

C’est ainsi qu’à la IIIe Biennale de Paris, en 1963, le GRAV présente son exposition intitulée Labyrinthe, une exposition collective où les œuvres sont présentées anonymement ; une exposition qui place le spectateur au cœur d’un environnement dynamique et lumineux ayant pour fonction première d’agir sur lui, parfois violemment, pour l’inciter à réagir. La dimension interactive ainsi que la présence d’éclairages stroboscopiques au sein des pièces de Morellet sont caractéristiques des stratégies qu’il met en œuvre au cours de ces années, d’abord au moyen d’ampoules puis de néons.

Their experimental research practice created works that involved the viewer and created a dazzle in the eye, a real optical illusion. In the group work Labyrinth in 1964 this amounted to strong visual shock tactics, consisting of strong stroboscopic lights virtual movement (the phi effect) on a grand scale. Later, GRAV resorted to more subtle and playful effects, for example in A Day in the Streets of Paris (1966). The works are seeking the active cooperation of the viewer to engage; who gets rewarded with a strange sensation, a dazzle. Now, it becomes clear that the dazzle has a specific ideological function.

Julio Le Parc’s Rollicking Retrospective