Taking the form of a record album, Correlated Rotations approaches circularity in visual and popular media, its critical potential as well as its easy nostalgia and fetishization. Conceived of as a parallel publication to the recent Artspeak exhibitions Threesixty by Kevin Hanley and Drone by Christian Kuras, Correlated Rotations expands on the dialogue instigated by Hanley’s video installation that uses looped and spiraling viewpoints and Kuras' visual representations of looped sound to reflect upon a self-contained concatenation.
In addition to reproductions of Hanley and Kuras’ work, the publication includes two responses to the exhibitions and their thematics: an audio work by Brady Cranfield and an essay by Tim Lee. Cranfield’s sound work, Forward/Backward, uses the audio of the reverberating sound of a spiraling skateboard in Threesixty as raw material to compose two tracks that refer back to the physical, spirled line of the record itself. Lee’s Liner Notes: Dan Graham, 1969 describes the relation of performer and spectator in Graham’s projected installation Two Correlated Rotations as a dialectical loop. “The loop circulates both ways; two rotations create two circles which split and layered on top of another generate a figure eight; the figure eight is known diagrammatically as a helix which is the sign for infinity.”
Kevin Hanley is a Los Angeles based artist whose work has been exhibited internationally, including at the Venice Bienale 2003. Christian Kuras is an artist based in London, UK whose work has been exhibited widely in Canada. Brady Cranfield is a Vancouver artist, musician (recent projects include bands The Book of Lists, The Secret Three) and educator. Tim Lee is a Vancouver artist whose work has been shown internationally, including at the Sharjah Biennial 2005.