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Pit and the Pendulum

Paul Kos

1971 00:12:22 United States English B&W Mono 4:3 1/2" open reel video

Description

The artist uses wire to suspend a block of ice in a pit-like industrial space. He swings the ice block, which is lit by a similarly swinging light bulb on a separate pendulum.

Kos places small game traps in a circle on the floor underneath the light bulb. He opens sterno cans on a metal sheet and empties the contents over some wadding. He lights the pile of sterno and places the fire under the ice block, then rotates the light bulb around the game traps. Since it is a double pendulum, the ice also rotates in a sympathetic vibration. The light bulb set off the traps, which are heard snapping shut. Any single trap could shatter the bulb and kill the light source. The camera shows the ice swinging over the fire, and eventually all the traps are set off. The camera angle changes to show the artist pushing the ice block over the flame and breaking the ice up against the wall. Sounds of ice dripping resonate in the concrete pit. The fire and ice are both diminished as the dripping from the ice block puts out the fire.

This title is also available on Sympathetic Vibrations: The Videoworks of Paul Kos.

About Paul Kos

Paul Kos has been an artist and teacher for 35 years. He responds to simple, humble materials and the indigenous elements of specific sites, which he mines for their physical properties and metaphoric possibilities. Everything Matters, a traveling retrospective of his work, was organized by the University of California Berkeley Art Museum in 2003. Kos's installations and videos have also been shown at the San Francisco Museum of Modern Art; New Langton Arts, San Francisco; Capp Street Project, San Francisco; Leo Castelli Gallery, New York; M.H. de Young Museum, San Francisco; Walker Art Center, Minneapolis; and Gallery Paule Anglim, San Francisco. 

The Spanish "aqui, aca, alli, alla", meaning "right here, here, there, over there," describes his work. Here, there, everywhere. Rather than having a signature or trademark, his work is linked conceptually. The concepts are often generated by life style events. For example, in jest, the author of a survival book on fire making said, as a last resort, if no matches, use a magnifying lens, if no lens, make one out of ice. So, Paul Kos did!

When Super Bowl Sunday's halftime commercials started influencing his video students with their 1,000 edits a minute pace, Kos stacked 27 video monitors, 9 high and 3 wide, to comprise a contemplative, architectural, 27 channel, stained glass window, CHARTRES BLEU, with no edits and time slowed down.

Kos opts for, but never expects, partly cloudy becoming mostly sunny.