ART IN REVIEW; Renee Green - New York Times
ART IN REVIEW; Renee Green - New York Times: "Included are ''Wavelinks,'' a two-monitor video-in-progress about electronic music in Spain whose documentary style contrasts with two impressionistic, elaborately spliced films projected (in alternation) on the wall. One is ''Some Chance Operations,'' which combines the story of a forgotten Neapolitan filmmaker with interviews with Austrians about Naples.
The other, ''Partially Buried Continued,'' moves between the artist's childhood as an Army brat in Korea; Robert Smithson's Earthwork ''Partially Buried,'' which he created at Kent State a few days before the 1970 shootings by the National Guard; and the 1980 student uprising in Kwangju, South Korea, which ended with the massacre of 288 demonstrators. In a particularly affecting passage, Ms. Green films a Korean photographer who pages through a book of her pictures of the event while she talks about how few people remember it or its victims. Elsewhere one can listen on earphones to the soundtracks of the two films, out of sync.
The darkened gallery becomes a surround of still and moving images, different sounds and languages and above all shifting mental spaces; entering them, one glimpses individuals contributing to, acting against and lost within the flux of history, both cultural and political. Ms. Green remains something of a harsh taskmaster, but both beauty and humor seem to be on the rise in her work and her thought-provoking latter-day Situationism has never seemed so user-friendly. ROBERTA SMITH "
The other, ''Partially Buried Continued,'' moves between the artist's childhood as an Army brat in Korea; Robert Smithson's Earthwork ''Partially Buried,'' which he created at Kent State a few days before the 1970 shootings by the National Guard; and the 1980 student uprising in Kwangju, South Korea, which ended with the massacre of 288 demonstrators. In a particularly affecting passage, Ms. Green films a Korean photographer who pages through a book of her pictures of the event while she talks about how few people remember it or its victims. Elsewhere one can listen on earphones to the soundtracks of the two films, out of sync.
The darkened gallery becomes a surround of still and moving images, different sounds and languages and above all shifting mental spaces; entering them, one glimpses individuals contributing to, acting against and lost within the flux of history, both cultural and political. Ms. Green remains something of a harsh taskmaster, but both beauty and humor seem to be on the rise in her work and her thought-provoking latter-day Situationism has never seemed so user-friendly. ROBERTA SMITH "
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