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Babel: The Seven Minute Scroll

Beryl Korot

2007 00:07:15 United StatesColorStereo4:3DV video

Description

In 2006 I began to think again about the handwoven canvases based on the biblical Babel text that I created in the 1980s. But now, using the same coded language and working at the computer, I created Babel: The Seven Minute Scroll. The scroll, created in the computer (48 feet wide x 2 feet high), is animated from right to left across the video screen for the duration of seven minutes, and then printed to paper. 

The world of Babel, in Mesopotamia, refers to a period of time which was changing from a herding to an agricultural and urban society made possible through the discovery of bitumen for mortar as a burnt brick technology. The story itself questions the social implications of such an advance as it suggests movement from a God-centered world to a human-centered world. The unity expressed in the first line of text—and the whole earth was of one language and of one speech”—is displaced at the end of the story by a scattered race of humans who no longer understand one another: and they were scattered abroad upon the face of the whole earth.” 

Three languages, the phonetic roman alphabet, my coded grid language made of black squares in which drawings of the events of Babel appear, and floating shadows of pictographic figures from ancient Egyptian wall drawings, co-exist and move at different speeds to retell the story. As the work progresses, the visual language replaces the phonetic alphabet, a reflection on the contemporary world in which images dominate. 

In the original installation of this work, a video screen with the scanned text faces the wall with the printed scroll stacked in three strips, each 12 feet wide by 2 feet high. The scroll is also available here.

About Beryl Korot

Beryl Korot is a pioneer of video art, and of multiple channel work in particular. By applying specific structures inherent to loom programming to the programming of multiple channels she brought the ancient and modern worlds of technology into conversation. This extended to a body of work on handwoven canvas in an original language based on the grid structure of woven cloth and to a series of paintings on canvas based on this language. She co-founded and edited Radical Software, the first publication to focus on the potentials of video as an art form (1970-74) and tool for social change.

More recently she has created drawings which combine ink, pencil, and digitized threads, as well as large scale tapestries” where threads are printed on paper and woven.

Two early multiple channel works—Dachau 1974 and Text and Commentary—have been installed in exhibitions on both the history of video art and textiles. Her works have been seen at the Whitney Museum (1980, 1993, 2000, 2002); the Kitchen, New York, NY (1975); Leo Castelli Gallery, New York, NY (1977); Documenta 6, Kassel, Germany (1977);  the John Weber Gallery, NYC (1986); the Köln and Düsseldorf Kunstvereins (1989 and 1994); the Carnegie Museum, Pittsburgh, PA (1990); the Reina Sofia, Madrid, (1994); the Aldrich Contemporary Art Museum, Ridgefield, CT (2010); bitforms gallery, New York, NY (2012/2018); the Whitworth Gallery, Manchester, England (2013); Museum Abteiberg, Mönchengladbach, Germany (2013); Art Basel, Basel, Switzerland (2014), the Institute of Contemporary Art, Boston, MA (2014); Tate Modern, London, England (2014); the Wexner Center for the Arts, Columbus, OH (2015); Garage Museum of Contemporary Art, ICI Project 35, Moscow, Russia (2015/16), SFMOMA, San Francisco, CA (2016), Santa Fe Thoma Art House (2017), LOOP festival, Santa Agata Capella, Barcelona (2017), ZKM, Karlsruhe, Germany (2017-18); Thinking Machines: Art and Design in the Computer Age, 1959–1989 at the Museum of Modern Art, New York, NY (2017-18); Documenta Politik und Kunst, Deutsches Historisches Museum, Berlin (2021/22); Core Memory, Newcomb Museum (2022); Key Operators, Kunstverein Munchen, Fall, 2024; Radical Software: Women, Art & Computing 1960–1991, Kunsthalle Wien, Vienna (2025), amongst others.

Two video/music collaborations with Steve ReichThe Cave (1993) and Three Tales (2002)—brought video installation art into a theatrical context and have been performed worldwide since 1993. Both works continue to be performed and were exhibited as video installations at venues including the Whitney Museum, NYC, NY (1993); the Carnegie Museum, Pittsburgh, PA, (1994); the Reina Sofía, Madrid, Spain (1994) , the Kunstverein, Düsseldorf, Germany (1994); Historisches Museum, Frankfurt, Germany (2000), ZKM, Karlsruhe, Germany, 2008.