{"id":155497,"date":"2021-10-29T11:51:20","date_gmt":"2021-10-29T15:51:20","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=155497"},"modified":"2022-03-21T11:50:29","modified_gmt":"2022-03-21T15:50:29","slug":"the-reviews-review-organic-video","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2021\/10\/29\/the-reviews-review-organic-video\/","title":{"rendered":"Organic Video"},"content":{"rendered":"<div id=\"attachment_155520\" style=\"width: 609px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/ezgif.com-gif-maker2.gif\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-155520\" class=\"wp-image-155520 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/ezgif.com-gif-maker2.gif\" alt=\"\" width=\"599\" height=\"323\" \/><\/a><p id=\"caption-attachment-155520\" class=\"wp-caption-text\"><em>Shigeko Kubota\u2019s <\/em>Berlin Diary: Thanks to My Ancestors<em>. 1981. Cathode-ray tube monitor, crystal, ink, and twine. 9 \u00d7 8 \u00d7 11&#8243; (22.9 \u00d7 20.3 \u00d7 27.9 cm).<\/em><\/p><\/div>\n<p>\u201cEverything is video,\u201d the Japanese-born, New York\u2013based artist Shigeko Kubota remarked in a 1975 interview. \u201c[We] eat video, shit video, so I make video poems \u2026 Part of my day, everyday, the memory\u2014I like to put in video.\u201d<\/p>\n<p>Overlooked compared to some of her other Fluxus-associated peers (including her husband, the pioneering video artist Nam June Paik), Kubota\u2019s work is now the subject of a small but brilliant exhibition at the Museum of Modern Art, <a href=\"https:\/\/www.moma.org\/calendar\/exhibitions\/5324\"><i>Liquid Reality<\/i><\/a>, which spans her artistically fertile period from 1976 to 1985. In Kubota\u2019s hands, video abandons its cold, sleek pretense, instead taking on a wild quality, with inverted color schemes and pulsating time warps akin to an overgrown garden. \u201cFilm was chemical, but video was more organic,\u201d she told <i>The Brooklyn Rail<\/i> in 2007, eight years before her death at the age of seventy-seven. In her work, mountains stand tall, water seeps, and, in 1979\u2019s <i>River<\/i>, a literal stream babbles over three neon-colored monitors, like some magic rivulet snatched from an old mythology and transported to our technological age.<!--more--><\/p>\n<table style=\"border-bottom: none;\">\n<tbody>\n<tr style=\"border-bottom: none;\">\n<td style=\"border-bottom: none;\">\n<p><div id=\"attachment_155519\" style=\"width: 360px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/ezgif.com-gif-maker1.gif\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-155519\" class=\"wp-image-155519\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/ezgif.com-gif-maker1.gif\" alt=\"\" width=\"350\" height=\"467\" \/><\/a><p id=\"caption-attachment-155519\" class=\"wp-caption-text\">Video Haiku\u2013Hanging Piece<em> (1981). Cathode-ray tube monitor, closed-circuit video camera, mirror, and plywood. Overall dimensions variable, mirror: 40 \u00d7 42&#8243; (101.6 \u00d7 106.7 cm).<\/em><\/p><\/div><\/td>\n<td style=\"border-bottom: none;\">\n<p><div id=\"attachment_155517\" style=\"width: 360px\" class=\"wp-caption alignleft\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/ezgif.com-gif-maker.gif\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-155517\" class=\"wp-image-155517\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/ezgif.com-gif-maker.gif\" alt=\"\" width=\"350\" height=\"467\" \/><\/a><p id=\"caption-attachment-155517\" class=\"wp-caption-text\">Duchampiana: Nude Descending a Staircase<em> (1976). Standard-definition video and Super 8 mm film transferred to video (color, silent; 5:21 min.), four cathode-ray tube monitors, and plywood. 66 1\/4 \u00d7 30 15\/16 \u00d7 67&#8243; (168.3 \u00d7 78.6 \u00d7 170.2 cm).<\/em><\/p><\/div><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p>On a late afternoon in early October, a crowd filmed Kubota\u2019s videos, and water from <i>Niagara Falls I <\/i>(1985) splashed. The people\u2019s murmurs were like the whirring sound of a tape spinning backward. The room grew cool and dark. Suddenly, a small shriek, and a beleaguered MoMA employee ran over to one of the three open-top pyramids comprising 1976\u2019s installation piece <i>Three Mountains. <\/i>A couple stood near the lip of one of them, peering in. There, inside the column, amid mirrors and monitors reflecting endlessly, lay another type of screen: while taking a video, one of the couple had by accident dropped their phone. <strong>\u2014Rhian Sasseen<\/strong><\/p>\n<div id=\"attachment_155566\" style=\"width: 605px\" class=\"wp-caption aligncenter\"><a href=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/ezgif.com-gif-maker4.gif\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-155566\" class=\"wp-image-155566 size-full\" src=\"https:\/\/www.theparisreview.org\/blog\/wp-content\/uploads\/2021\/10\/ezgif.com-gif-maker4.gif\" alt=\"\" width=\"595\" height=\"381\" \/><\/a><p id=\"caption-attachment-155566\" class=\"wp-caption-text\">Inside of <em>Three Mountains.<\/em> 1976\u201379. Four-channel standard-definition video (color, sound; approx. 30 min. each), seven cathode-ray tube monitors, plywood, and mirrors, overall dimensions variable.<\/p><\/div>\n<p>&nbsp;<\/p>\n<p style=\"text-align: center;\">* * *<\/p>\n<p>A while ago, I was surprised to hear myself describe the reading of John le Carr\u00e9 as a guilty pleasure. I suppose I was trying to elevate my bookshelf in some way\u2014trying to suggest that I occasionally wolf down some genre stuff in between <i>Gravity\u2019s Rainbow<\/i> and <i>Finnegans Wake<\/i>. In any case, it was ungracious nonsense. The further I get into middle age, the more I lean toward hospitable books and the more I distrust the assertion that this hospitality is evidence of some sort of authorial limitation or lack of literary ambition. As Ian McEwan stated, le Carr\u00e9 is not simply a spy writer, \u201che\u2019s in the first rank.\u201d<\/p>\n<p>All of which to say, I have le Carr\u00e9\u2019s final book, S<i>ilverview<\/i>, sitting on my nightstand, waiting for me when I get home. How wonderful and how reassuring to be welcomed into the dusty, bureaucratic world of le Carr\u00e9\u2019s espionage one last time. <strong>\u2014Robin Jones<\/strong><\/p>\n<p>I recently asked an old friend to send some music they\u2019d been listening to as a lazy way of staying connected. They sent back Leona Anderson\u2019s 1957 album <i>Music to Suffer By<\/i>, which has exactly the anti-sonorous quality you\u2019d expect from a silent film actress; the song \u201c<a href=\"https:\/\/www.youtube.com\/watch?v=X9CRGKYXjCA\" target=\"_blank\" rel=\"noopener\" data-saferedirecturl=\"https:\/\/www.google.com\/url?q=https:\/\/www.youtube.com\/watch?v%3DX9CRGKYXjCA&amp;source=gmail&amp;ust=1635604280242000&amp;usg=AFQjCNEa1APzYZA1joH_mcygBe8ZM_dGHw\">Summertime Blues<\/a>\u201d by the Flying Lizards; and Miharu Koshi\u2019s 1983 album <i>Tutu<\/i>, which is lightly industrial at heart and rich synth on top, and has me head over heels. <strong>\u2014Lauren Kane<\/strong><\/p>\n","protected":false},"excerpt":{"rendered":"<p>On Shigeko Kubota\u2019s \u2018Liquid Reality,\u2019 John le Carr\u00e9, and music to stay connected by. <\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[68386],"tags":[67827,68303,68301,18114],"class_list":["post-155497","post","type-post","status-publish","format-standard","hentry","category-the-reviews-review","tag-featured","tag-nam-june-paik","tag-shigeko-kubota","tag-video-art"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v25.4 (Yoast SEO v25.4) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Organic Video by The Paris Review<\/title>\n<meta name=\"description\" content=\"October 29, 2021 \u2013 On Shigeko Kubota\u2019s \u2018Liquid Reality,\u2019 John le Carr\u00e9, and music to stay connected by.\" \/>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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