SEASON I

Program 01 15.10.05
Program 02 22.10.05
Program 03 29.10.05
Program 04 05.11.05
Program 05 12.11.05
Program 06 19.11.05
Program 07 26.11.05
Program 08 03.12.05
Program 09 10.12.05
Program 10 17.12.05
Program 11 25.12.05
Program 12 07.01.06
Program 13 14.01.06
Program 14 21.01.06
Program 15 28.01.06
Program 16 04.02.06
Program 17 11.02.06
Program 18 18.02.06
Program 19 25.02.06
Program 20 04.03.06
Program 21 11.03.06
Program 22 18.03.06
Program 23 25.03.06
Program 24 01.04.06
Program 25
08.04.06
Program 26 15.04.06
Program 27 22.04.06
Program 28 29.04.06


SEASON II

Program 01 14.10.06
Program 02 21.10.06
Program 03 28.11.06
Program 04 04.11.06
Program 05 11.11.06
Program 06 18.11.06
Program 07 25.11.06
Program 08 02.12.06
Program 09 09.12.06
Program 10 16.12.06
Program 11 23.12.06
Program 12 30.12.06
Program 13 06.01.07
Program 14 13.01.07
Program 15 20.01.07
Program 16 27.01.07
Program 17 03.02.07
Program 18 10.02.07
Program 19 17.02.07
Program 20 24.02.07
Program 21 03.03.07
Program 22 10.03.07
Program 23 17.03.07
Program 24 24.03.07
Program 25 31.03.07
Program 26 07.04.07
Program 27 14.04.07
Program 28 21.04.07
Program 29 28.04.07


Thomas Calori
The Destruction of My Piano

2004, 4:04 min.
(video, color, sound)


William Cobbing
Excavation
2004, (video, color, sound)


William Cobbing
Demolition
2004, (video, color, sound)


William Cobbing
Driving
2004, (video, color, sound)

William Cobbing
The Kiss
2004, (video, color, sound)

Earth Printer

 

Program 23 March 25, 2006

Performance in video, the video as a performance.

Thomas Calori
The Destruction of My Piano

2004, 4:04 min.
(video, color, sound)

I found a piano on the side of the road that had been taken apart with a sledgehammer. I felt it was my duty to reinstate its form. Through numerous attempts and reconfigurations, it became apparent that I could not improve on the piano’s original form. The piano had to go back to what it was.
After being bound together with rope for several months, the piano had to be removed from my studio. I wanted to document the destruction of my piano as it once again fell apart into pieces, removed of its form. As the pile of piano parts lay in front of me, I realized it was my new duty to remove all of the form from this piano. I wondered how far I could remove this piano from its original form and still have it be understood as a piano. The essence of my work revolves around this notion; the process of extracting information until so little is left, but what is left is the primary information necessary for that original form to still register in our perception as that original form.
After I created the film, the destruction of my piano, I made a follow up film entitled, the final death of my piano. The new film documents my piano being removed of its form entirely as it is run through a stand-up brush and wood-chipper. The remains of my piano are now housed in four 30-gallon receptacles, reduced to sawdust and metal bits. The strings and hammers remain intact and signify the piano’s previous form, and are mixed in with the sawdust and metal bits. Although my piano is now unplayable, it still resonates its original form and is still recognized as a piano. The idea of piano remains intact; and with it, its original form exists as a new object.


William Cobbing
Excavation
2004, (video, color, sound)


Demolition
2004, (video, color, sound)


Driving
2004, (video, color, sound)


The Kiss
2004, (video, color, sound)

Earth Printer

In the recent series of videos people perfunctorily prod wet clay with their hands or repetitively chip away at concrete that covers parts of their clothed body or the surrounding space, such as an external suburban wall or the dashboard of a car, to humorously unsettling effect. Chipping away at a lump of concrete which buries the head could reflect a desire to brutally shed light onto a disturbed state of mind. The relationship between the two figures who blindly caress each others’ soft clay covered heads seems to embody a paradox of desire and repulsion.  

These visceral encounters depict a transgression of discrete bodily boundaries between individuals and their environment, creating an abject sense of formlessness, and an entropic return to the gunge of the earthly ground.  The protagonists seem passively trapped in an endless cycle, with the video loop perhaps referring to a Sisyphean notion of absurdity deriving from ongoing struggle as opposed to final conclusion.