New York

Janet Cardiff and George Bures Miller

Luhring Augustine | Chelsea

Someone is being followed; someone is not telling the whole truth; footsteps crunch on gravel; the view careers along a lonely pedestrian underpass or through dark trees; an urgent whisper startles in one’s ear. Shots ring out. Somewhere the narrative conventions of cinematic thrillers, detective stories, and radio serials and the frustration of such conventions by strategies of appropriation and fragmentation slap each other on the back and acknowledge that, as paradigms for storytelling, they are no longer opposites but instead old pals who, as it were, can finish one another’s sentences. We, their audience, in turn no longer expect the crime apparently in progress to be specified regarding victim or motive; we are not surprised to discover that the blonde who seemed to be the heroine disappears as the scene shifts. When the loop begins again and we’re back in the middle of the uncertainty,

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