Espace [IM]Media

Tasman Richardson


A Line Has Two Sides / Timelords


Granada Theater

A Line Has Two Sides (2017) – Three-channel A/V performance / 18 minutes

Based on glitches from an Atari 2600 game console, A Line Has Two Sides is a real-time audiovisual triptych. By triggering hundreds of clips and positioning them in space and time, the audience is immersed in a vibrant sound environment entirely generated from the sound of the source clips – a signature of the JAWA method developed by Richardson in 1996. The manipulation of these “ghosts in the machine” by synchronized cuts, both visual and sonic, induces a form of anxious immediacy as the nervous system reacts to light and heart rate to the rhythm of the bass sounds. The result is an abstract and fierce AV work, inspired equally by Kandinsky and Pan Sonic.

Timelords (2015) – AV performance / 11:19 minutes

Timelords evokes the futuristic utopia of recording our moments to share, manipulate and archive them in high-fidelity mode. A simulated and speculative journey through time, the work consists of samples of images from the golden age of amateur video and the dawn of consumer-controlled time media. The dream of a superior technology, which will stand the test of time and its alteration work, will soon prove to be powerless in the face of the exponential speed of evolution of our means of recording and transmitting media content, which is now being completed by the hyper-connected state of our Western societies.

In terms of process, Richardson works by reusing audiovisual material in the same way as an author who reuses familiar language. In this case, the first words were formulated with Lethe Baptism (2014) – an audiovisual installation questioning the mechanisms of memory reconstruction – and evolved towards Timelords, only to be finally reinterpreted for the two-screen performance Doppelganger (2016), a work that challenges our perception and the technological transposition of reality.

This work was created following a commission for the Videodrome event at the closing evening of the Museum of Contemporary Canadian Art (Toronto), before its corporate transformation into MOCA (Museum Of Contemporary Art).