Padraig Timoney

Laure Genillard

Padraig Timoney thinks about art, about what it is, and how—in the face of what one knows, remembers, and experiences—it can distinguish itself from the ordinary and extraordinary things of life. The outcome of this ratiocination is work of such formal and physical diversity that it is impossible to assume it all falls into a certain category of art object. The Hunter Became the Hunted (all works 1997), a piece that also provided the title of the exhibition, is a blank videotape bought in a Hollywood supermarket. The purchase in itself was an unremarkable gesture, but its excessive nature becomes clear when we are told that Timoney spent two days flying from the UK to Los Angeles and back again for the sole purpose of making the acquisition. The tape, still unused and unlabeled, sits low down in an open framework of tubing—a cube, six or seven feet on each side—strongly lit by tungsten

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