Chicago

Mark Lewis

Rhona Hoffman Gallery

The films of Mark Lewis are earnest, disarming, and seditious. In construction they couldn’t be more straightforward: Each of the two films shown here unfolds in real time, and each is exactly four minutes long. They open-handedly mimic the conventions of film (suspense, narrative, tracking camerawork, etc.) yet turn those conventions in on themselves. The wall-size digital video projection North Circular, 2000, takes its name from the highway that fringes London, the city Lewis calls home. The first two minutes of the silent film consist of a single view of an abandoned office building from across an abandoned office building from across a rainswept parking lot. As gray clouds mass and the occasional bird flies by, Lewis’s camera stays fixed on this ravaged shell of modern commerce, whose broken windows and savaged interior suggest a kind of ruthless late-capitalist cannibalism. Then,

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