![]() ![]() As the projects continued to gain scale and complexity, the network kept expanding. I started showing the films in cinemas and installing the sculpture without the presence of the film as a way of creating more space. The relationships were less direct and more of a network. The Cremaster Cycle expanded those relationships and created more space and complexity between the object and narrative. The Jim Otto installations in the early ’90s had a more 1:1 relationship, where the video and the object were installed in proximity and the relationship between the action and object were more explicit. My use of video started as a documentary tool with the Drawing Restraints, and grew slowly into a more narrative tool.The narratives were always in service of the object, though the location of the intersection has changed. In that sense, the video work has been a means toward a sculptural end. Sculpture has always been the priority for me. This interview was conducted over email and phone in 2020–21.Ĭan you talk about what it takes to work at the various scales you’ve operated in? How do you think about the sculptural process, and how do you think about film? And their intersection? MB ![]() In the following, we discuss the relationship between cinema and sculpture, what materials do even when we’re not looking, stepping over your own boundaries, and more. I wanted to speak to him because my very first task at my first job in the art world (as social media coordinator at the Museum of Contemporary Art, Los Angeles) was to read extensively about his work when his first major solo exhibition in LA, “River of Fundament.” As a result, Matthew Barney lives in my head rent-free. His sprawling oeuvre documents an ongoing attempt to reckon with the possibility of the dissolution of categories. However, his work also exhibits an intensive materialist aesthetic that conceptually collides with the ideas explored throughout this volume of November, namely L’Informe (formless) and the abject. Stepping into the art world in the early 1990s, Barney was a part of an apparent turn to the body in contemporary art he has investigated the body and its limits-in terms of its physical capacities as well as its bounds. Matthew Barney is an American artist, known for his large scale cinematic and sculptural projects. ![]()
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