Julia Scher, Predictive Engineering³ (installation view), 1993–present; collection SFMOMA, Accessions Committee Fund purchase, 1998; ©​ Julia Scher
Exhibition

Film as Place

May 14–October 30, 2016

Floor 7

This thematic presentation centers on the notion of place from a variety of temporal and geographical angles. The five featured artists address specific locations as a meeting of history, geography, and cultural conditions. The exhibition highlights Julia Scher’s Predictive Engineering3, a surveillance-based installation first conceived for SFMOMA’s original Van Ness building in 1993, now restaged for a third iteration in response to both the Snøhetta–designed expansion and current technology landscape, as well as Beryl Korot’s seminal Dachau 1974 (1974), an early multi-monitor video installation. An adjoining gallery will rotate projections by three leading international artists: Shadow Sites II (2011) by Jananne Al-Ani (May 14 through July 10), The Pixelated Revolution (2012) by Rabih Mroué (July 16 through September 5), and Phantoms of Nabua (2009) by Apichatpong Weerasethakul (September 10 through October 30). Together, the works in Film as Place not only offer an investigation of the local presence of history, but also reveal how time-based situations and narratives are perceived through a cinematic and political lens.

Header image: Julia Scher, Predictive Engineering³ (installation view), 1993–present; collection SFMOMA, Accessions Committee Fund purchase, 1998; ©​ Julia Scher

Exhibition Preview

  • A woman falling down the stairs

    Julia Scher, Predictive Engineering3 (video still), 1993–present; collection SFMOMA, Accessions Committee Fund purchase, 1998; © Julia Scher

  • Video still, Apichatpong Weerasethakul, Phantom of Nabua

    Apichatpong Weerasethakul, Phantoms of Nabua (video still), 2009; collection SFMOMA, Accessions Committee Fund purchase; © Apichatpong Weerasethakul

  • Video still, Rabih Mroue Pixelated Revolution

    Rabih Mroué, The Pixelated Revolution (video still), 2012; collection SFMOMA, Accessions Committee Fund purchase; © Rabih Mroué

  • Video still, Beryl Korot, Dachau 1974

    Beryl Korot, Dachau 1974 (composite), 1974; Partial and promised gift of Pamela and Richard Kramlich to the New Art Trust to benefit the San Francisco Museum of Modern Art, the Museum of Modern Art, New York, and Tate, United Kingdom; © Beryl Korot; photo: courtesy the artist and bitforms gallery, New York

  • Film Still, Jananne Al-Ani, Shadow Sites

    Jananne Al-Ani, Shadow Sites II (still), detail, 2011; jointly owned by the San Francisco Museum of Modern Art (Accessions Committee Fund purchase) and the Museum of Fine Arts, Boston; © Jananne Al-Ani; photo: Adrian Warren