Protocinema’s Mari Spirito Brings New York to Istanbul, and Vice-Versa
This performance, at London's Lisson Gallery, documents Graham's project of psychologically restructuring space and time. Graham writes, "Two people who know each other are in the same space. While one predicts continuously the other person's behavior, the other person recounts (by memory) the other's past behavior. Both performers are in the present, so knowledge of the past is needed to continuously deduce future behavior (in terms of causal relation). For one to see the other in terms of the present (attention), there is a mirror reflection or closed figure-eight feedback/feedahead loop of past/future. One person's behavior reciprocally reflects/depends upon the other's, so that each one's information is seen as a reflection of the effect that their own just-past behavior has had in reversed tense, as perceived from the other's view of himself."
Dan Graham’s interest in the social implications of systems, popular culture, and architecture is articulated in his installations, conceptual pieces, performances, videos, architectural designs, and prolific writing. Graham began using video as a medium in the 1970s as a way to engage his viewers directly, while attempting to restructure perceptions of time and space—a motive carried into his later glass and mirror pavilions. Circularity and feedback are major themes in Graham’s works, evidenced by his frequent use of mirrors, participation, and sometimes two cameras to create a loop. His influences include Larry Bell, Robert Mangold, Sol LeWitt, and Mies van der Rohe. In spite of his contributions to the legacy of media and installation art, Graham is still uncomfortable considering himself a professional artist.
American, b. 1942, Urbana, Illinois, based in New York, New York