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Three Tales

Beryl Korot, Steve Reich

2002 01:04:25 United StatesEnglishColorStereo4:3Video

Description

Three Tales was commissioned in the late 1990s by different international music festivals to reflect on 20th century life as the new century approached. It recalls three well known events from the early, middle, and late 20th century—Hindenburg, Bikini, Dolly. Each of these events reflects on the growth and implications of technology during the 20th century from early air transport to the current ethical debate on the future of our species. This debate about the physical, ethical and religious nature of the expanding technological environment has continued and grown pervasive since 1945. 

The first tale, Hindenburg, utilizes historical footage, photographs, specifically constructed stills and a videotaped interview which provide a setting for the archival material and text about the zeppelin. Starting with the final explosion in Lakehurst, New Jersey in 1937 it also includes material about the zeppelin's construction in Germany in 1935 and its final Atlantic crossing. The unambiguously positive attitude towards technology is presented through newscasters of the era. 

The second, Bikini, is based on footage, photographs, and text from the Atom bomb tests at Bikini atoll in 1946-1954. It also tells of the dislocation and relocation of the Bikini people, living totally outside the Western world which determined their fate. While Hindenburg is presented more or less chronologically in four discreet scenes with silence and black leader separating them, Bikini is arranged in three image/music blocks that recur in a nonstop cycle repeated three times forming a kind of cyclical meditation on the documentary events. A short coda explores the period of time after the explosions and ends the tale. Interspersed throughout are the two stories of the creation of human beings from Genesis. Not sung, but rather 'drummed out' by the percussion and pianos as if they existed (as indeed they do) in another dimension. 

The third tale, Dolly, briefly shows footage, text and interview comments about the cloning of an adult sheep in Scotland in 1997. It then deals extensively with the idea of the human body as a machine, genetic engineering, technological evolution and robotics. While Hindenburg uses only one 'cameo' interview from the present to comment on the past and Bikini uses none, Dolly will be filled with interview fragments from members of the scientific and religious communities. Interviewees include Dr. James D. Watson, Richard Dawkins, Stephen Jay Gould, Rodney Brooks, Marvin Minsky, Steven Pinker, Sherry Turkle, Bill Joy, Jaron Lanier and Rabbi Adin Steinsaltz among others. In addition, a talking robot has an important role. The two versions of the creation of human beings, the Tree of Knowledge, and other Biblical material, are presented in various ways. Different attitudes towards the science and technology we so avidly embrace, are embedded in the interview fragments, including a religious perspective not heard in public discussion. 

Three Tales is a new kind of musical theater in which historical film and video footage, video taped interviews, photographs, text, and specially constructed stills are created on the computer, transferred to video tape and projected on one large 32 foot screen. Sixteen musicians and singers take their place onstage below the screen. 

Until the work went into rehearsals, Reich and Korot created all musical and visual aspects in their home studios.

VDB is pleased to offer a single-channel composite of Three Tales.

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.