New York

Beryl Korot

The Kitchen

In describing Beryl Korot’s videotape Dachau, I could concentrate on the elaborate structuring of the piece. Four monitors flicking on and off, changing vistas at different intervals. The threads of a tapestry, weaving the fabric of narration. In fact, several diagrams hung on the walls illustrate this intertwining of relationships. But somehow that seems unimportant, an addendum (conceptual justification maybe?). Watching the tapes what comes across is a sense of endless time, repetition and sameness punctuated by the blinking on and off of the image. A kind of relentless rhythm which complements the scene of Dachau, the memories of Dachau. Monitors one and three begin by flashing identical tapes (out of synch with each other) of the highway running alongside the concentration camp enclosure. The routine flow of traffic (image and sound) contrasting with the silent barriers of Dachau.

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