An Open System Meets an Open System: Sarah Morris and Hans by Sarah Morris, Hans Ulrich Obrist (auth.)

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By Sarah Morris, Hans Ulrich Obrist (auth.)

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Extra resources for An Open System Meets an Open System: Sarah Morris and Hans Ulrich Obrist in Conversation

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But they don't have the key; they didn 't even know who is in control. I mean, this was a really fascinating paradox. So sometimes they would be asking me for information. In terms of getting a camera into where I wanted to have a camera, they couldn 't help me in any way at all. I know for a fact that they tried and it just didn 't work. It could be ca lled , again , a pileup of pressure that eventually broke the dam , but definitely architects in the context of China - and I don't mean in 42 Sarah Morris with Hans Ulrich Obrist Production from Robert Towne, 2006 a bad way - they're just being used.

When I went into the Cabinet room , they wouldn 't let us bring the tripod in. That is why my camera is actually on the actual table of the Cabinet room , which I thought was fortuitous. Again, I wouldn 't have necessarily thought of the requirements of that space, at that moment. But of course you just go with it. The requirement was to go in there, with one person , put the camera on the table , be quiet and try not to make any distractions. But in Los Angeles there are cameras everywhere and you just get used to the fact that you are in somebody else's shot.

The Bonaventure Hote l was built in the late '70s, and I can see Jameson 's point. The hotel is made up of four towers and you can't tell where you are in it because it's perfectly symmetrical, almost like a clover. You can 't tell which tower you're in, and there is no color coding - so it is an early example of the postmodern St. 11 31 TRANSCRIPT 1 condition. I was always interested in the film industry and its own representation of itself. I would imagine a heightened alienation in the production of this product that's exported all over the world.

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