Aviation Memories. Response to an 1986 open call for an installation proposal by Real Art Ways in Hartford, CT. Instead of the usual sketches, I submitted a simulation of the proposed project on video tape using the Macintosh program Mac Draw and the Fair
Alexander Hahn
Aviation Memories Response to an 1986 open call for an installation proposal by Real Art Ways in Hartford, CT. Instead of the usual sketches, I submitted a simulation of the proposed project on video tape using the Macintosh program Mac Draw and the Fairlight Computer Video Instrument. While the proposal was not chosen, the video consequently played on Festivals, was aired in 1988 on WGBH New Television (along with Lauf der Dinge by Fischli Weiss), and, among other places, acquired by Mike Steiner's Art Tapes Collection in Berlin. Plans to finally realize and install it at the New Museum in New York came to an abrupt halt by the tragic death of curator Alice Young in 1997. Some of the footage found its way into the 3 channel installation Urban Memories, which premiered at the 1987 World Wide Video Festival in The Hague.
https://vimeo.com/2173323
Spoken Text (voice: Kay Hines) Aviation Memories This proposed series of Aviation Memories consists of two installations: one in the entrance way and the other one in the main space. The first part is composed of two identical corner pieces, one to the right and one to the left. Mounted on a four foot stand is a kind of aviary box with two 5" b/w picture tubes inside, arranged in a wing shape. The TV circuitry is hidden. The tubes are suspended inside the grid by strings. Painted on the wall behind is the enlargement of a 17th century perspective drawing. The tubes show prerecorded loops of processed images of flying scenes. The sounds are digitally sampled. The main floor is painted with a b/w checkerboard pattern, squares of one foot by one foot. Three similar pieces are situated in the corners. Four 15 inch monitors are planted in the middle of the floor, screen up. A small surveillance camera on a small tripod points to a 5 inch b/w monitor or tube suspended with strings from the light grid. It displays prerecorded processed material. Behind it, on the corner wall and floor patch, there is a 17th century perspective b/w drawing, painted from a projection. The image on the screen and fragments of the background are then sent from the camera to one of the monitors in the middle. This set up is repeated three times, always with different perspective drawings, screen events and sounds. The center monitors with the live images are b/w, the fourth one color. It shows loop scenes of collapsing buildings, with the following looped text as audio: He entered the house and immediately got lost in a maze of hallways. He finally exited to a roof top. It started collapsing. He fell. In his falling he caught a beautiful view over the immense cathedral and its detached monastery. He imagined himself passing by the open cells. He would hear voices of inquisitors, scrutinizing the inhabitants of the cells. He frequently overheard the one question: "Quid recordaris?" The voices would unite into an infinite, inquiring choir that pervaded the cathedral: "What do you remember?" The suspense followed by the silence of all the defendants would be unbearable. He came to a halt and found himself in front of an old building … Alexander Hahn, 1986
Aviation Memories. Response to an 1986 open call for an installation proposal by Real Art Ways in Hartford, CT. Instead of the usual sketches, I submitted a simulation of the proposed project on video tape using the Macintosh program Mac Draw and the Fair
Alexander Hahn
Aviation Memories Response to an 1986 open call for an installation proposal by Real Art Ways in Hartford, CT. Instead of the usual sketches, I submitted a simulation of the proposed project on video tape using the Macintosh program Mac Draw and the Fairlight Computer Video Instrument. While the proposal was not chosen, the video consequently played on Festivals, was aired in 1988 on WGBH New Television (along with Lauf der Dinge by Fischli Weiss), and, among other places, acquired by Mike Steiner's Art Tapes Collection in Berlin. Plans to finally realize and install it at the New Museum in New York came to an abrupt halt by the tragic death of curator Alice Young in 1997. Some of the footage found its way into the 3 channel installation Urban Memories, which premiered at the 1987 World Wide Video Festival in The Hague.
https://vimeo.com/2173323
Spoken Text (voice: Kay Hines) Aviation Memories This proposed series of Aviation Memories consists of two installations: one in the entrance way and the other one in the main space. The first part is composed of two identical corner pieces, one to the right and one to the left. Mounted on a four foot stand is a kind of aviary box with two 5" b/w picture tubes inside, arranged in a wing shape. The TV circuitry is hidden. The tubes are suspended inside the grid by strings. Painted on the wall behind is the enlargement of a 17th century perspective drawing. The tubes show prerecorded loops of processed images of flying scenes. The sounds are digitally sampled. The main floor is painted with a b/w checkerboard pattern, squares of one foot by one foot. Three similar pieces are situated in the corners. Four 15 inch monitors are planted in the middle of the floor, screen up. A small surveillance camera on a small tripod points to a 5 inch b/w monitor or tube suspended with strings from the light grid. It displays prerecorded processed material. Behind it, on the corner wall and floor patch, there is a 17th century perspective b/w drawing, painted from a projection. The image on the screen and fragments of the background are then sent from the camera to one of the monitors in the middle. This set up is repeated three times, always with different perspective drawings, screen events and sounds. The center monitors with the live images are b/w, the fourth one color. It shows loop scenes of collapsing buildings, with the following looped text as audio: He entered the house and immediately got lost in a maze of hallways. He finally exited to a roof top. It started collapsing. He fell. In his falling he caught a beautiful view over the immense cathedral and its detached monastery. He imagined himself passing by the open cells. He would hear voices of inquisitors, scrutinizing the inhabitants of the cells. He frequently overheard the one question: "Quid recordaris?" The voices would unite into an infinite, inquiring choir that pervaded the cathedral: "What do you remember?" The suspense followed by the silence of all the defendants would be unbearable. He came to a halt and found himself in front of an old building … Alexander Hahn, 1986