Glen Fogel
2021
Control Sequences
Glen Fogel
"Super 8 images of a cellophane-covered male body floating in water are blown up into two separate movies—one video, the other 16mm—which screen simultaneously as superimpositions upon one another, further altered through colored gels placed in front of the projectors. The overlapped projections create an uncanny 3D effect, while the claustrophobic shots of the man's open mouth attempting to breath through clinging cellophane and roiling water, and the film's respiratory soundtrack, unveils a thanatos within its eros." —Ed Halter
Control Sequences
Endless Obsession
Glen Fogel
"The final format is a 16mm blowup from an original Super 8 film, comprised of sequences shot off of a television monitor, which in turn played a videotape of a 35mm film, Pier Paolo Pasolini's Salo or the 120 Days of Sodom. The images Fogel kidnapped are those of several young men, some nude, seemingly alone together in a small, ancient-looking bedchamber. The differences in frame-rate between camera and monitor cause black horizontal bands to strobe languidly up and down the screen; the five layers of media transmission have washed out the original colors into an electric blue-gray . . . The total effect is one of deep, erotic longing. It presents the metaphor of cinema as an eternally youthful, luminously beautiful 20-year-old boy, who is nevertheless slipping away, through layers of time, into a tantalizingly unreachable distance." —Ed Halter
Endless Obsession
The Space in Between (Airport Architecture)
Glen Fogel
". . . Nevertheless, Fogel pushes these pictures of escalators and suitcase-toting travelers deeply into lyrical, Rorschach-symmetrical abstraction. In the course of moving from video to film, the images become flattened into painterly icons and patterns; their contrast has been increased, and the colors shifted into gemlike purples, greens and blues. Edited with a primal shape-based rhythm, Airport Architecture was created for a live musical accompaniment by Greta Cohn and James Hoff." —Ed Halter
The Space in Between (Airport Architecture)
Coming Home
Glen Fogel
"Within a field of black, rows of colored pinpoint lights fly towards the screen and whiz past each side, evoking any number of scenarios: an airport's landing strip, streetlamps passing by on a nighttime drive, a science-fiction jaunt through hyperspace, or the hallucinations of a mushroom trip. These luminous atoms serve as the ultimate reduction of Fogel's artmaking: the creation of hypnotic realms of light, which seduce and enrapture viewers, leading them elsewhere, and within." —Ed Halter
Coming Home
