PRINT September 2006

Tim Griffin

A TEMPLATE FOR Zidane, a 21st Century Portrait may be found in the film’s very first moments, when the opening kick of a championship football match in Madrid, Spain, appears on the grainy screen of a television monitor. Slowly the film’s frame closes in on this broadcast image to focus on a single player, his figure increasingly vulnerable to televisual distortion until, finally, he dissolves into the very mechanism of his reproduction and dispersion—a grid of pixels. Paired in turn with an ambient sound track and the hushed tones of what seem to be French talk radio and the animated dispatches of Spanish play-by-play, this abstraction is the Zinédine Zidane of artists Douglas Gordon and Philippe Parreno: the individual immersed in his own mediation, never viewed apart from all his representations and attendant commentaries. Indeed, set for the duration of a single game at the

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