New York

Peter Campus

Leslie Tonkonow Artworks + Projects

Strictly speaking, one needed just eighteen minutes to see all of Peter Campus’s recent exhibition at Leslie Tonkonow Artworks + Projects, which contained six looped digital videos lasting less than three minutes each. Yet such a straightforward approach was both irrelevant and impossible, since the single events that each video depicts have no obvious beginnings or ends. As the title of the show, “time’s friction,” suggested, Campus was less interested in tracking durational time than in revealing and elaborating on the poetic pushes and pulls within it.

This is not to say that Campus hasn’t already also explored video’s inherent relationship to duration and process. A key figure in the history of the medium, he took it up in the late ’60s with particularly innovative aplomb, often exploiting its disturbing potential to depict both psychic and physical milieus in real time. But at the

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