On Sigmar Polke’s films [Artforum]

by jhoberman.

Great film installations—Douglas Gordon’s 24 Hour Psycho, 1993, say, or Christian Marclay’s The Clock, 2010—use the fact of motion pictures to hypostatize time. Lesser ones raise questions about narrative and intention. The 16-mm films and extended segments of 16-mm footage incorporated into the Museum of Modern Art’s current retrospective of Sigmar Polke’s work do both. Read more…