November 21st 2019, 7:30pm
November 22nd – 28th, 3 – 6pm
Saturday and Sunday close.
Also open by appointment.
Tunnel Boring Machine is a performance-film shot on an action camera fixed to the artist’s chest, while she walks twice and in opposite direction the entire length of a train crossing the Euro Tunnel, during a return trip from Brussels to London on the weekend of the last European elections. At bb15 it is presented for the first time as a multi-channel video installation surrounded by a sound composition, where the recordings of contact microphones applied to the window of her passenger seat are modulated along the geological cross-section of the Euro Tunnel.
“Both the action and the video installation revolve around a meticulous calculation of the different temporalities at play in the situation and serve to write the almost imperceptible score of the piece: the ‘Tunnel-time’ or ‘underwater-time’; the pace of the artist’s walk; the time that materialises in the gestures of the passengers; the gap between the first and the second passage of the camera on the same spot; the reduced speed of the video; the reverse motion; the time of two different time-zones that the train crosses. In its apparently linear and naked visual language, Tunnel Boring Machine thickens and gives exposure to the almost apathetic sameness and alienated atmosphere in which the trains passengers are all immersed. Like in other works, Tunnel Boring Machine brings together the chronopolitical dimension of the worlds and ways of living that Teresa Cos inhabits, observes and constructs.” (Beatrice Forchini)
Teresa Cos makes use of improvisation and reiteration techniques to create audiovisual works which investigate the active and passive forms of repetition at the bases of human emotional and social processes. Her work offers a multi-scaled re-reading of history through an embodied experience of cultural and political landscapes, reflecting the tension between situated conditions of birth and forms of displaced nomadic becoming. Often permeated by a sense of tragicomedy, her work ultimately questions notions of proximity and distance, time (ir)reversibility and memory accumulation, as they emerge from the intersection of multiple converging time-lines.