clock of 24 hours with screaming face of little girl

Result #1

clock of 24 hours with screaming face of little girl-children. The flotsam and jetsam of a two-hour cruise were reflected in a mirror behind the booth, as were the bedsheets and sheets, and the voyeuristic gaze of a child. The infantile eroticism of this act was echoed in a photograph of the childs head, which was concealed by a sheet of paper placed on the floor. The photographs were accompanied by a set of coded messages.The most poignant and poignant piece in the show was the sound piece, which was constructed as a three-minute montage of phone conversations. The sound piece was played on three monitors placed on the floor; three long speakers placed on the ceiling above the audience. The sound was of a woman who was constantly reciting the names of men she thought were too young to be her own father. She then requested that they talk to her about this matter. The three monitors reflected the audience, who, as if in response, were confronted with a photograph of the two men she thought of as her father. The sound piece was accompanied by a telephone call from a man who said he had only just heard the name he remembered as being a real man. He then asked, How do I know the name? and replied, Its because I've never heard it spoken. He then asked, Is it really true that he was always a real man? and the man replied, Thats just the way things are supposed to be. It is a lie. He then told the man he was a lie. He then asked, How can I know? and the man replied, I just know I am a real man. He then asked, Have you ever heard of a man called Joe? and the man replied, Ive heard of a guy called Joe who wears a tie and speaks with a deadpan voice. Joe is a real man, said the man who is usually a real man.

Result #2

by a live wire, I wanted to see if the body was still there. The body is present, but not very much, and the girl is screaming, not the other way around, but with a good deal more conviction. The girl is not smiling, but she is calm, and shes not dumb. I thought maybe I was supposed to be surprised, but it wasnt. The girl isnt even fourteen, and I was expecting her to be asking why are you killing me? I was hoping that the voice would come through as something from somewhere else, but it didnt. Its the voice of a fourteen year old girl who has been raped, who wouldnt even think of asking a rape joke, and who knows that shes making a very dumb joke.Ive never heard of a video that could be called a horror film, but I didnt find it shocking, either. In fact, the music and lighting are almost too beautiful to be real horror. Its not really a horror film at all, but the idea that there are no other possibilities seems to be what you get from the glorification of violence. There is no plot, no characters, no events. But the violence is there and its real, and its too much, and thats what gives it its power.

Result #3

clock of 24 hours with screaming face of little girl who has been kicked out of a Mexican village (TOD [To die, to live, to live], 1992–95). Two images, however, were more than a subtle commentary on violence. In one, a 14-year-old girl, her face blurred into a blank mask, covers herself with an ugly white cloth to protect her identity. The image shows the girl as a woman of ill repute, not just for her skin, but for her role as an activist in the fight for her rights. In another, a man, barely able to see, stands with his hands tied behind his back in a manner that recalls the national flag. In the other, two identical twins, one standing, one standing, one sitting, each with a dagger in each hand, share the same platform.The video included a selection of photographs taken by the artist in the streets of Mexico City, such as a set of street scenes in which a prostitute stands for the camera in a bar. The work is a recording of a day in the life of a prostitute, which is not an easy task because it is the essence of street photography. But the artist is able to use her camera to record all aspects of life, including the mundane details of the prostitution industry, as well as the prostitutes faces and gestures. The artist does this with great care, recording not only the mens faces but also the expressions on their clothing, their eyes, their hands. The videos title, To Die, To Live, 1992–95, refers to a video by Leon Golub that shows the artist giving a speech at a rally for the rights of indigenous people in Mexico. She delivers a powerful speech in which she uses the most accessible tools of the media—the television—to convey a message to the public: I am a prostitute, not a journalist. I am a woman who sells her body, not a woman who looks for love.

Result #4

clock of 24 hours with screaming face of little girl, perhaps the most beautiful memory of the 20th century, and one of the most dangerous.Of the two works that were on view, Heart of Darkness was the more moving, and the only one that seemed to have anything to do with the central themes of the show. Its a very dark, black-and-white piece of tape with a buzzer and a metal blade, a kind of carapace, which appears to be attached to a wall. The piece is very slow, and the speedometer is the only indication of the time. The heartbeat of the tape is slowly but steadily and with a great deal of effort, slowly but surely, gradually becoming the sound of a heartbeat, the heartbeat of silence. We know this heart is going to be interrupted and stopped and that it will stop again, but no one seems to care, and we are left, wondering and unsure of the future, and of who or what we are. The silence and the silence of silence are both made quiet by the presence of the blade, but the silence is a quiet, eternal silence, the same as the black darkness of darkness.Heart of Darkness and the smaller piece, based on a scene from The Hunter, are two of the more famous and recognizable works by this artist. The Hunter is a masterpiece, a journey through the wilderness and across a river into a cave and into a cave again, finally at a hut. Heart of Darkness, a work based on a work by the great American painter, is a pretty banal movie shot of a group of people who have wandered through a forest and come upon a deer. They tear the animal off its body, which is a dead deer. A deer. I was reminded of Claude Lévêques famous photograph of the Black Hills of South Dakota, where the camera is stopped at the final moments of a film so that the people can experience their movements.

Result #5

clock of 24 hours with screaming face of little girl! or the much more loving, almost sad, face of the blindfolded girl. Of course, there is a way to speak of little girl, of no girl, but it might be better to say something like: a young girl, who is naked, perhaps due to some illness, in the street. Her head is turned toward the camera, and she stares at the camera with a frightened, imploring, frantic stare. She is wrapped up in the hand of a policeman, who kisses her. The policeman gives her a big, red, billowing sack and a big red sign on which he reads: RED SHEET. She takes the sack and sits on it, but the sack turns out to be a baby bottle. The policeman leaves the sack on the street to be filled. A policeman picks it up, takes it back to the policeman, and puts it on the policeman again, and so on, until the policeman, who has been eating the sack, leaves the scene. The camera pans up, down, and around the policeman, who is apparently oblivious to the sack. The camera then goes back to the policeman, who, having taken the sack, takes the sack back to the policeman, who still has not seen it.The three previous shots of this scene are from a 1950s film, The Naked Lady, by John Cages. Cages film is a masterpiece of the cinematic visual art of the 1960s and 70s. Cages film is also a masterpiece of the genre. He shot the scene as a policeman, with a plain-clothesman in a car. He never did figure in any kind of film, and that was deliberate, because Cages is an expert in the field of human nudity and police behavior. He wasnt really interested in the possibility of anything other than the reality of the situation. The policeman isnt a filmic image, and he never was, nor is his behavior.