Black Box Recorder


British Council Touring Exhibition
opened Museum Ludwig, Cologne, 21 Sep 2000

Roderick Buchanan, Adam Chodzko, Mark Dean, Sarah Dobai, Graham Fagen, Douglas Gordon, Graham Gussin, Rachel Lowe, Christina Mackie, Kenny Macleod, Steve McQueen, Ross Sinclair, Gillian Wearing, Carl von Weiler.

touring to:
Argentina: Museum of Modern Art, Buenos Aires
Bulgaria: Ata Centre For Contemporary Art, Sofia
Croatia: Galerija Likovbih Umjetnosti, Osijek; Gallery Vincent Iz Kastva, Pula; Modern Gallery, Rijeka; Art Radionica Barutana, Slavonski Brod; New Film And Video Festival, Split; Union Of Croatian Artists, Zagreb
Czech Republic: Atelier K, Beroun; Moravian Gallery, Brno; X Centre Gallery, Pilsen
Georgia: N-Gallery, Tblisi
Hungary: Studio Gallery, Budapest
Japan: Red Brick Warehouse, Yokohama
Latvia: Noass, Riga
Lithuania: Centre Of Contemporary Art, Vilnius
Montenegro: Media Link Festival, Podgorica
Poland: Bunkier Sztuki Gallery Of Contemporary Art & Manggha Centre, Krakow
Romania: Toaca Foundation, Bucharest; Banat Museum, Timisoara
Russia: State Museum of Fine Arts, Novosibirsk
Slovenia: Moderna Galerija, Ljubljana; Umetnostna Galerija, Maribor

Black Box Recorder, British Council, London ISBN 0-86355-454-7

exhibited works:




‘Nothing to Fear’ (The American Friend + -12)





Goin’ Back (The Birds/The Byrds x 32 + 1)


‘The exhibition was curated by Simon Morrissey with Colin Ledwith, and aimed to highlight some of the most interesting video and film work being made in Britain at the start of the 21st century, and encompassed different trends within the media such as appropriation, performances to camera, observations or documentation, and the moving images’ relationship to other media such as drawing and sculpture. The idea of rooting the exhibition in one form of presentation only – that of single screen monitor based work – provided a formal equality that allowed the fundamental quality of single screen work – a simplicity of physical manifestation capable of encompassing almost all conceptual tendencies – provided a clarifying focus, through which the viewer could examine the plethora of positions within video practice.’