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Gary Hill

Donald Young Gallery

Of the eight works in Donald Young Gallery’s recent Gary Hill micro-retrospective—dating from 1978 to 2005—Accordions (The Belsunce Recordings, July 2001), 2001–2002, is the largest. A room-filling video installation, its five projectors generate a jarring sequence of images, each staccato snippet accompanied by a dissonant sound track of blips and crackles. Hill shot the footage in Belsunce, a working-class area of Marseilles with a large population of French Algerians. Employing his camera as a tool of casual surveillance, the artist captured short street-life vignettes, zooming in and out with the seemingly unpremeditated glance of a passerby. In the installation, these images usually appear and accrete for no more than a few seconds, just long enough to communicate a sense of the complex postcolonial reality of the French Algerians, of their existence within a structure that they are

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