Gerard Byrne’s brilliantly imagined and rendered film In Our Time proceeds from a concept that is, in its basic shape, so simple and straightforward that it almost eludes description. Set in a commercial radio station, the filmoriginally commissioned for Skulptur Projekte Münster in Germany in 2017focuses on a DJ with a graying goatee and a magnificently fugly cardigan performing his duties in a cozily cluttered control room: introducing pop songs, cuing commercials, reading news and traffic reports. Meanwhile, on the other side of a soundproof window, a few men and women fiddle with musical gear for what may be an upcoming performance. Projected on a single screen in the middle of a space replete with red drapery, the video is, the gallery noted, of “nonfixed duration.” It is not, however, without chronological structure. Indeed, the larger temporality it
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