GREAT BLOOD SACRIFICE

A walk with shaky hand held camera through the landscape of the high desert of New Mexico, down the cliffs to a water reservoir accompanied by Reinke’s voice over: “I had a dream last night. I was in a room with Joy Behar, and she had wrapped a dog in aluminum foil, and the dog couldn’t get out. It was trying to get out, it was walking into things, I was afraid it was going to hurt itself. But then it got loose and it bit Joy, and Joy shrugged and said, “Well, comedy is dangerous.” And when I woke I checked my email and I had a google alert. It linked to a review of Vivienne Dick at Artists Space, and says one of her works has a tone “situated between Steve Reinke’s lazy confessions and Su Friedrich’s more formally precise autobiographical films.” And I thought, hey, its great to be mentioned alongside Su Friedrich, but really my work is also formally precise. Whatever is going on on top, there’s a precise machine at work below, and this machine is digging little grooves, and these grooves slowly join together and become the conduits by which all meaning is drained from the world.”