Gary Hill

Dervish, 1993-1995

© Gary Hill / SOCAN (2022) • Photo: Richard-Max Tremblay

Gary Hill, Dervish, © Gary Hill / SOCAN (2022) • Photo: Richard-Max Tremblay

© Gary Hill / SOCAN (2022) • Photo: Richard-Max Tremblay

Gary Hill, Dervish, © Gary Hill / SOCAN (2022) • Photo: Richard-Max Tremblay

© Gary Hill / SOCAN (2022) • Photo: Richard-Max Tremblay

Gary Hill, Dervish, © Gary Hill / SOCAN (2022) • Photo: Richard-Max Tremblay

© Gary Hill / SOCAN (2022) • Photo: Richard-Max Tremblay

Gary Hill, Dervish, © Gary Hill / SOCAN (2022) • Photo: Richard-Max Tremblay
Artist
Gary Hill
Title
Dervish
Dimensions and medium
Wood, aluminum, mirrors, strobe light, motor, 2 video projectors, 2 loudspeakers, computer, electronic controls, software, and videodiscs, 2/2, Variable dimensions
Artwork description
As viewers enter Gary Hill’s video and sound installation Dervish, a motion sensor triggers an image turbine placed at the centre of a tower structure hidden by the darkness of the room. An incandescent lamp behind the tower casts a dim light on the apparatus just before the piece is set in motion. Two video projectors point to the turbine’s spinning mirrored box, creating fragmented images that are reflected onto the surrounding walls at high speed, along with a flickering strobe light. The image projections move horizontally on a curved wall, at times intersecting and overlapping. The sound effects of muffled incantations and broken monologues add to the noise of the motor’s centrifugal action, the turbine, and the ventilation. The installation, whose title evokes the trance-like dance of the whirling dervishes, maintains a constant rotating action that keeps viewers in a state of agitated, heightened awareness of their own sensory processes.

See Also

Les Hôtes, 2007, reconstituted in 2009, Glass, mirror, cotton tablecloth, table, and integrated lighting system.
Claudie Gagnon, Les Hôtes, 2007, reconstituted in 2009 Les Hôtes, 2007, reconstituted in 2009, Glass, mirror, cotton tablecloth, table, and integrated lighting system.
Black Whole Conference, 2006, 74 chairs.
Michel de Broin, Black Whole Conference, 2006 Black Whole Conference, 2006, 74 chairs.
detail of Jumbo Spoons and Big Cake, 2000, Mixed media and various materials.
Thomas Hirschhorn, Jumbo Spoons and Big Cake, 2000 detail of Jumbo Spoons and Big Cake, 2000, Mixed media and various materials.
Untitled (Water), 1992, 5 light boxes with colour transparencies and 25 framed mirrors, 2/2.
Alfredo Jaar, Untitled (Water), 1992 Untitled (Water), 1992, 5 light boxes with colour transparencies and 25 framed mirrors, 2/2.
Propos type, 1977, Black and white video, mute, 30 min, television, masking tape, and elastic tape.
Jean-François Cantin, Propos type, 1977 Propos type, 1977, Black and white video, mute, 30 min, television, masking tape, and elastic tape.
still of Answer Me, 2008, HD video, stereo sound, 4 min 51 s, 3/6.
Anri Sala, Answer Me, 2008 still of Answer Me, 2008, HD video, stereo sound, 4 min 51 s, 3/6.
La Nativité, 1995, Waxed plaster, wood, wax, and cow hide.
Gilles Mihalcean, La Nativité, 1995 La Nativité, 1995, Waxed plaster, wood, wax, and cow hide.
Les Couleurs de Cézanne dans les mots de Rilke, 36/100 - essai, 1997-1998, Vinyl and acrylic paint on canvas mounted on agglomerated pine fiber panel, and framed book.
Francine Savard, Les Couleurs de Cézanne dans les mots de Rilke, 36/100 - essai, 1997-1998 Les Couleurs de Cézanne dans les mots de Rilke, 36/100 - essai, 1997-1998, Vinyl and acrylic paint on canvas mounted on agglomerated pine fiber panel, and framed book.
1911, 2006, Computer data projected on a flat screen, 3/5.
Charles Sandison, 1911, 2006 1911, 2006, Computer data projected on a flat screen, 3/5.
Les Tables de sable III (haute, rouge, rompue), 1995, Plywood, wood, acrylic, lacquer, varnish, sand, and 4 silver prints, 1/1.
Jocelyne Alloucherie, Les Tables de sable III (haute, rouge, rompue), 1995 Les Tables de sable III (haute, rouge, rompue), 1995, Plywood, wood, acrylic, lacquer, varnish, sand, and 4 silver prints, 1/1.
Générique, 2001, Computers and software, projector, amplifier and loudspeakers, and video surveillance camera, 1/2.
Alexandre Castonguay, Générique, 2001 Générique, 2001, Computers and software, projector, amplifier and loudspeakers, and video surveillance camera, 1/2.
Spica, 1999-2001, Paint and vinyl lettering, 1/2.
Rober Racine, Spica, 1999-2001 Spica, 1999-2001, Paint and vinyl lettering, 1/2.
detail of Fatigues, 2014, Mounted animals, 3 elements (White-tailed deer, American red fox, North American porcupine).
Abbas Akhavan, Fatigues, 2014 detail of Fatigues, 2014, Mounted animals, 3 elements (White-tailed deer, American red fox, North American porcupine).
Chameleon, 2004, 1 table and 8 chairs, wood, and metal.
Franz West, Chameleon, 2004 Chameleon, 2004, 1 table and 8 chairs, wood, and metal.
Factory for a Day, 1996-2008, Various materials, paintings, photographs, videos, and sound.
Tricia Middleton, Factory for a Day, 1996-2008 Factory for a Day, 1996-2008, Various materials, paintings, photographs, videos, and sound.
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