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Jordan Crandall «Drive» | Installation view: Neue Galerie am Landesmuseum Joanneum, Graz, 2000
Jordan Crandall, «Drive», 1998 – 2000
Installation view: Neue Galerie am Landesmuseum Joanneum, Graz, 2000 | Courtesy: Neue Galerie am Landesmuseum Joanneum, Graz | Photograph: Wolfgang Croce | © Jordan Crandall
Track 3 (compulsion/registration)


 
Jordan Crandall «Drive» | Installation view: Neue Galerie am Landesmuseum Joanneum, Graz, 2000Jordan Crandall «Drive» | Installation view: Neue Galerie am Landesmuseum Joanneum, Graz, 2000Jordan Crandall «Drive» | Installation view: Neue Galerie am Landesmuseum Joanneum, Graz, 2000Jordan Crandall «Drive» | Track 4 (matrix: father/child/witness)Jordan Crandall «Drive» | Track 4 (matrix: father/child/witness)Jordan Crandall «Drive» | Track 4 (matrix: father/child/witness)
7-track video installation, Track 1: rhythm movement, machine; Track 2: database; Track 3: compulsion, registration; Track 4: matrix (father, child, witness); Track 5: body, vehicle, heat; Track 6: projectile, gaze; Track 7: analyse, violate, protect
 

 Jordan Crandall
«Drive»

«Jordan Crandall‘s work ‹Drive› (1998-2000) consists of a series of seven films which, in terms of content, deal with the combination of traditional ways of seeing and new technological methods of image generation. Crandall has combined traditional cinematographic methods with military target-finding technology, tracking systems and pattern-recognition programs. ‹Drive. Track 6›, subtitled ‹projectile/gaze›, is powerfully visualized in two projections. One shows an extreme close-up of a man‘s face. The camera is directed toward his eye, yet his gaze keeps the penetrative intensity of the camera at bay. In slow motion we see how the eyelid slowly closes and opens again to renew contact with the observer. On the film projected opposite, we see found footage of military high-tech technology: radar and infrared shots, target lock-on systems, computer images that are specialized in locating, classifying and identifying moving war machines. The human gaze is contrasted with militarized visualization practices, and compared with a projectile.»

Jordan Crandall

(quoted from: Future Cinema. The cinematic Imaginary after Film, exhib. cat., Jeffrey Shaw, Peter Weibel (eds), The MIT Press, Cambridge (MA), London, 2003, p. 293.)