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waterside contemporary
Judith Barry
2 Clunbury Str, London N1 [email protected]
waterside-contemporary.comtel +44 2034170159
waterside contemporary
‘…Cairo stories’ is a series of‘as-told-to’ recorded stories,based on personal interviews.Initiated in 2003 at thebeginning of the Iraq War, theproject explores the manydifferent ways that Cairenewomen negotiate theideological, cultural andeconomic conditions that arespecific to Cairo. Drawing onhundreds of hours of recordedinterviews, Barry filmed actorsrecounting extracts of
individual narratives.
Judith Barry…Cairo stories2011
video
installation view, Sharjah Biennial
BRY011
waterside contemporary
‘…Cairo stories’ is a series of‘as-told-to’ recorded stories,based on personal interviews.Initiated in 2003 at thebeginning of the Iraq War, theproject explores the manydifferent ways that Cairenewomen negotiate theideological, cultural andeconomic conditions that arespecific to Cairo. Drawing onhundreds of hours of recordedinterviews, Barry filmed actorsrecounting extracts of
individual narratives.
Judith Barry…Cairo stories2011
video
BRY011
waterside contemporary
‘…Cairo stories’ is a series of‘as-told-to’ recorded stories,based on personal interviews.Initiated in 2003 at thebeginning of the Iraq War, theproject explores the manydifferent ways that Cairenewomen negotiate theideological, cultural andeconomic conditions that arespecific to Cairo. Drawing onhundreds of hours of recordedinterviews, Barry filmed actorsrecounting extracts of
individual narratives.
Judith Barry…Cairo stories2011
video
BRY011
waterside contemporary
‘…Cairo stories’ is a series of‘as-told-to’ recorded stories,based on personal interviews.Initiated in 2003 at thebeginning of the Iraq War, theproject explores the manydifferent ways that Cairenewomen negotiate theideological, cultural andeconomic conditions that arespecific to Cairo. Drawing onhundreds of hours of recordedinterviews, Barry filmed actorsrecounting extracts of
individual narratives.
Judith Barry…Cairo stories2011
video
BRY011
waterside contemporary
‘…Cairo stories’ is a series of‘as-told-to’ recorded stories,based on personal interviews.Initiated in 2003 at thebeginning of the Iraq War, theproject explores the manydifferent ways that Cairenewomen negotiate theideological, cultural andeconomic conditions that arespecific to Cairo. Drawing onhundreds of hours of recordedinterviews, Barry filmed actorsrecounting extracts of
individual narratives.
Judith Barry…Cairo stories2011
video
BRY011
waterside contemporary
‘For when all that was readwas… so as not to be unknown’is a guidebook to the ‘Brain’section at dOCUMENTA (13).Remapping the exhibitions wideranging content, associativehistories and labyrinthinenature with its own uniquepaper architecture. Containedyet expansive, exhibitionmaterials are presented in anon-hierarchal, non-lineararray, as if to situate itscontents in an endless spacesuspended in time. This workderives from an investigationinto the historical developmentof the book as a form — fromearly seals and emblems, to thecodex as a contemporary form of
storing knowledge.
Judith BarryFor when all thatwas read was… so asnot to be unknown2012
printcodex, polyhedron book,offset print60×80cm (poster),13x13x13cm (polyhedron)
installation view, dOCUMENTA(13)
BRY006
waterside contemporary
‘For when all that was readwas… so as not to be unknown’is a guidebook to the ‘Brain’section at dOCUMENTA (13).Remapping the exhibitions wideranging content, associativehistories and labyrinthinenature with its own uniquepaper architecture. Containedyet expansive, exhibitionmaterials are presented in anon-hierarchal, non-lineararray, as if to situate itscontents in an endless spacesuspended in time. This workderives from an investigationinto the historical developmentof the book as a form — fromearly seals and emblems, to thecodex as a contemporary form of
storing knowledge.
Judith BarryFor when all thatwas read was… so asnot to be unknown2012
printcodex, polyhedron book,offset print60×80cm (poster),13x13x13cm (polyhedron)
BRY006
waterside contemporary
‘study for mirror and garden.redux' uses video and specialeffects along witharchitectural mirroring toevoke the secret gardens,hidden meanings, and picaresquenarratives of the ‘converso’tradition in Spanish literatureand culture, which allowedbanished cultures to survive byhiding in plain sight. At firstthe story seems to turn onmistaken identities, but astime ruptures & slips andcharacters morph into culturalarchetypes, it becomes aninvestigation of the origins ofour desire for the irrationalto erupt into modern narrative
space.
Judith Barrystudy for the mirrorand garden. redux2007
installation2-channel video soundprojection with mirrorsdimensions variable
BRY007
waterside contemporary
‘study for mirror and garden.redux' uses video and specialeffects along witharchitectural mirroring toevoke the secret gardens,hidden meanings, and picaresquenarratives of the ‘converso’tradition in Spanish literatureand culture, which allowedbanished cultures to survive byhiding in plain sight. At firstthe story seems to turn onmistaken identities, but astime ruptures & slips andcharacters morph into culturalarchetypes, it becomes aninvestigation of the origins ofour desire for the irrationalto erupt into modern narrative
space.
Judith Barrystudy for the mirrorand garden. redux2007
installation2-channel video soundprojection with mirrorsdimensions variable
BRY007
waterside contemporary
‘study for mirror and garden.redux' uses video and specialeffects along witharchitectural mirroring toevoke the secret gardens,hidden meanings, and picaresquenarratives of the ‘converso’tradition in Spanish literatureand culture, which allowedbanished cultures to survive byhiding in plain sight. At firstthe story seems to turn onmistaken identities, but astime ruptures & slips andcharacters morph into culturalarchetypes, it becomes aninvestigation of the origins ofour desire for the irrationalto erupt into modern narrative
space.
Judith Barrystudy for the mirrorand garden. redux2007
installation2-channel video soundprojection with mirrorsdimensions variable
BRY007
waterside contemporary
‘Voice off’ consists of a roomdivided into two halves; thewall separating the room is theprojection area. The videos oneither side of the shared wallexplore what the voice is interms of possession and loss,presenting the viewer with twometaphoric narratives thatunfold simultaneously. On oneside a dream-like sequenceenacts the personal, intimateand interior encounters thatone has with the voice. On theother side, a man trying towork grows increasinglydistracted as he tries tolocate the source of the sounds
he hears.
Judith BarryVoice off1999
installation2 channel videoprojection, sound
BRY002/ARC
waterside contemporary
‘Voice off’ consists of a roomdivided into two halves; thewall separating the room is theprojection area. The videos oneither side of the shared wallexplore what the voice is interms of possession and loss,presenting the viewer with twometaphoric narratives thatunfold simultaneously. On oneside a dream-like sequenceenacts the personal, intimateand interior encounters thatone has with the voice. On theother side, a man trying towork grows increasinglydistracted as he tries tolocate the source of the sounds
he hears.
Judith BarryVoice off1999
installation2 channel videoprojection, sound
BRY002/ARC
waterside contemporary
‘Voice off’ consists of a roomdivided into two halves; thewall separating the room is theprojection area. The videos oneither side of the shared wallexplore what the voice is interms of possession and loss,presenting the viewer with twometaphoric narratives thatunfold simultaneously. On oneside a dream-like sequenceenacts the personal, intimateand interior encounters thatone has with the voice. On theother side, a man trying towork grows increasinglydistracted as he tries tolocate the source of the sounds
he hears.
Judith BarryVoice off1999
installation2 channel videoprojection, sound
BRY002/ARC
waterside contemporary
‘Voice off’ consists of a roomdivided into two halves; thewall separating the room is theprojection area. The videos oneither side of the shared wallexplore what the voice is interms of possession and loss,presenting the viewer with twometaphoric narratives thatunfold simultaneously. On oneside a dream-like sequenceenacts the personal, intimateand interior encounters thatone has with the voice. On theother side, a man trying towork grows increasinglydistracted as he tries tolocate the source of the sounds
he hears.
Judith BarryVoice off1999
installation2 channel videoprojection, sound
BRY002/ARC
waterside contemporary
‘speedflesh’ is an interactive360º surround theatre allowsthe viewer to experience thelast 5 minutes in the lives of5 characters who are somewherealong the spectrum betweenhuman and prosthetic. Three-dimensional effects place theviewer in the centre of thespace such that the point ofview shot becomes the mostpotent and only locating device- similar to the space of videogames. This project exploreshow an immersive space mightflatten any narrative effectsuch as to engage with thework, the viewer must inhabitthe centre of this space as an
all–seeing eye.
Judith Barryspeedflesh1998
installation4 channel interactivevideo-sound projection,dimensions variable
BRY010/ARC
waterside contemporary
‘speedflesh’ is an interactive360º surround theatre allowsthe viewer to experience thelast 5 minutes in the lives of5 characters who are somewherealong the spectrum betweenhuman and prosthetic. Three-dimensional effects place theviewer in the centre of thespace such that the point ofview shot becomes the mostpotent and only locating device- similar to the space of videogames. This project exploreshow an immersive space mightflatten any narrative effectsuch as to engage with thework, the viewer must inhabitthe centre of this space as an
all–seeing eye.
Judith Barryspeedflesh1998
installation4 channel interactivevideo-sound projection,dimensions variable
BRY010/ARC
waterside contemporary
In ‘the work of the forest’,the 19th century notion of‘interiority’, described byMarcel Proust, is contrastedwith the architectural stylemost associated with it, ArtNouveau. I used Proust’s‘whirling room’ to stageconflicting histories ofAfrican art, the Belgian Congoand Art Nouveau. Threetransparent screens as acontinuous panorama allow formultiple points of view andaccess; underscoring thedifferent relationships thatthe viewer can have with this
material.
Judith Barrythe work of theforest1992
installation3 channel video-soundprojection panorama withArt Nouveau screens
BRY009/ARC
waterside contemporary
In ‘the work of the forest’,the 19th century notion of‘interiority’, described byMarcel Proust, is contrastedwith the architectural stylemost associated with it, ArtNouveau. I used Proust’s‘whirling room’ to stageconflicting histories ofAfrican art, the Belgian Congoand Art Nouveau. Threetransparent screens as acontinuous panorama allow formultiple points of view andaccess; underscoring thedifferent relationships thatthe viewer can have with this
material.
Judith Barrythe work of theforest1992
installation3 channel video-soundprojection panorama withArt Nouveau screens
BRY009/ARC
waterside contemporary
‘Adam’s Wish’ explores trompl’oeil effects as it questionswhy, within the lexicon ofcorporate architecture, thereis not an overt and legiblecorporate iconography visiblyin these structures. It usesthe history of tromp l’oeil toexamine spatial disintegration,particularly as public spacehas become increasinglyprivatized. Designed as aprojection onto an oculus, thepiece explores a worker’s ‘fallfrom grace’ and his eventualretreat back into corporate
public space.
Judith BarryAdam’s Wish1988
installationsite-specific videoinstllationinstallation view showing theprojection into the World FinancialCenter oculus, New York City
BRY001/ARC
waterside contemporary
‘Adam’s Wish’ explores trompl’oeil effects as it questionswhy, within the lexicon ofcorporate architecture, thereis not an overt and legiblecorporate iconography visiblyin these structures. It usesthe history of tromp l’oeil toexamine spatial disintegration,particularly as public spacehas become increasinglyprivatized. Designed as aprojection onto an oculus, thepiece explores a worker’s ‘fallfrom grace’ and his eventualretreat back into corporate
public space.
Judith BarryAdam’s Wish1988
installationsite-specific videoinstllation
BRY001/ARC
waterside contemporary
Using a variety of computereffects, including 3-Dmodelling techniques, thisfloor projection places youviscerally within post-perspectival representationalspace. Here informationtechnologies and the alienationthey can produce are contrastedwith collage and motion graphictechniques to underscore thecontradictions inherent inthese effects; they producesensations which literally takeyou places that only your eyecan go - leaving your body
behind.
Judith Barrymaelstrom: maxlaughs1988
installationvideo projection, sound
BRY005/ARC
waterside contemporary
Using a variety of computereffects, including 3-Dmodelling techniques, thisfloor projection places youviscerally within post-perspectival representationalspace. Here informationtechnologies and the alienationthey can produce are contrastedwith collage and motion graphictechniques to underscore thecontradictions inherent inthese effects; they producesensations which literally takeyou places that only your eyecan go - leaving your body
behind.
Judith Barrymaelstrom: maxlaughs1988
installationvideo projection, sound
BRY005/ARC
waterside contemporary
Using a variety of computereffects, including 3-Dmodelling techniques, thisfloor projection places youviscerally within post-perspectival representationalspace. Here informationtechnologies and the alienationthey can produce are contrastedwith collage and motion graphictechniques to underscore thecontradictions inherent inthese effects; they producesensations which literally takeyou places that only your eyecan go - leaving your body
behind.
Judith Barrymaelstrom: maxlaughs1988
installationvideo projection, sound
BRY005/ARC
waterside contemporary
Light and fog are projected ina room in which two identicaldisks are suspended such thatthe viewer stands between them.Even though you can seeprecisely how the piece works,you are still subject toretinal effects on your vision.As you leave the room, thinkingyou will regain control of yourvision, you do not, you seered. The work demonstrates twoof the many ways you can nottrust what you see. In a sense
you become a projector.
Judith Barrymodel for stage andscreen1987
installationlight and fog, room withante-chamber
BRY008/ARC
waterside contemporary
Light and fog are projected ina room in which two identicaldisks are suspended such thatthe viewer stands between them.Even though you can seeprecisely how the piece works,you are still subject toretinal effects on your vision.As you leave the room, thinkingyou will regain control of yourvision, you do not, you seered. The work demonstrates twoof the many ways you can nottrust what you see. In a sense
you become a projector.
Judith Barrymodel for stage andscreen1987
installationlight and fog, room withante-chamber
BRY008/ARC
waterside contemporary
A room, suggestive of manyother spaces – a waiting room,a train station and S+M den -hid 4000 lbs of sand in theceiling. While I made actionsculptures out of wire mesh,fragmented narratives ofwomen’s lives projected on 3screens behind me. Amellifluous voice cohered thesefragments into a story.Finally, I lay in the hammockand as buckets of sand pouredover me, suddenly the curtainof sand in the ceiling wasreleased, covering me. When itfinished, the performance wasover. The piece stayed on view
as an installation.
Judith Barrypastpresentfuturetense…ppft1977
performance3 slide projections, 2sound tracks, 4000pounds of silica sand,wire mesh, hooks
BRY004/ARC
