“Evaporated Music” presented all three installments of Melbourne-based artist Philip Brophy’s eponymous suite of videos, marking the first time these works have been shown together. The three chaptersdisplayed in sequence in an immersive environment with a monitor opposing a couch, a rug, and five speakerseach address a different way in which music is represented on video. While the visuals of the appropriated clips are left completely intact, Brophysince the late 1970s a committed deconstructionist of cultural textsgives the accompanying audio a complete makeover. His process is meticulous, resulting in perfect synchronization between sound and the action on-screen. Of course, the new soundtrack estranges the familiar visual content of the videosthe basis of the work’s humor. A dedicated analytic project underpins the trilogy, one that is continuous
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