Sarah Morris

White Cube | Mason's Yard

Tommie Smith and John Carlos changed my life. Beamed in monochrome from Mexico City to a white boy in the nowhere provinces of England in 1968, the athletes’ silent gesture of graceful resistance under pressure—raising their fists in a black power salute at the Olympic medal ceremony—spoke loudly of the power of images to signify politically, economically, and ideologically. The Olympics matter. Four years later, everyone’s eyes were on Munich when a hooded member of the Palestinian Black September group peered over the balcony of an apartment in the athletes’ village. Inside were eleven Israeli hostages, all of whom would be dead by the end of the day. This incident is the subject of Sarah Morris’s latest film, 1972, 2008. It features an extensive interview with Georg Sieber, the head psychologist of the Olympic Police at the time. Over the course of a number of sessions shot in a car

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