"I'd always thought of myself as too impatient for raw footage and long, unedited takes-I liked my stories synthesized. And I remained unconvinced by the old utopian claims of the fly-on-the-wall view touted by those French filmmakers of the '50s and '60s: even as observational cinema tries to avoid manipulation, it is always inevitably shaped by a director, a team, an angle, a moment in time."
"Her ongoing "Ricerche" series (begun in 2013) stages frank, roving conversations with various groups: queer senior citizens, a women's tackle football team, students at a women's college. Hers is an example of "framed cinéma vérité," as it scalled, wherein subjects are invited to speak and the artist remains visible-mic in hand, questions heard-so that the encounter is foregrounded as part of the document."
Sharon Hayes's ongoing Ricerche series stages frank, roving conversations with groups such as queer senior citizens, a women's tackle football team, and students at a women's college. The work practices a "framed cinéma vérité" in which subjects are invited to speak while the artist remains visible—mic in hand and questions audible—so the encounter becomes part of the document. Hayes places mismatched chairs in a semicircle before the screen to physically invite spectators into a communal space. The videos present real, unedited human conversations that contrast with typical online video consumption and reimagine observational cinema now that its limits are widely acknowledged.
Read at ARTnews.com
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