![]() ![]() The space between the two screens turns the beams into airy sculptural forms consisting of light, shadow and smoke, which encourages the viewer to move around the room. What the viewer hears, on the other hand, is the audible equivalent of the alternating images on the screens. As the films roll, they appear as an ‘optical soundtrack’. These are projected onto two opposite facing screens in a hazy room. It’s startling to learn that Lis Rhodes made Light Music almost 40 years ago.’ –Laura Cumming The Observer, The Tanks: Art in Action 22 July 2012‘In this groundbreaking work, Rhodes plays with our preconception of film by presenting the soundtrack as a series of horizontal and vertical lines that were drawn with pen and ink on the optical edge of the filmstrip. But the best effect is of moving in throngs among the glamorous limelight. Sound and vision are intimately connected – the op-art patterns read as audio – and the images zip and sizzle on the screen like cinematic Bridget Riley. One tank is reserved for works from the Tate collection, and the inaugural experience is exhilarating: a pair of projectors spooling black-and-white celluloid across the room at each other to a soundtrack something like old biplanes buzzing and humming. ![]() –L.R.‘The Tanks at Tate Modern are three colossal new spaces beneath the ground. This impromptu performance is often taken away as a digital record of the viewer as performer. ![]() Now sometimes members of the audience become performers, performing within and to the light of Light Music. I thought the audience would move around – leave – return – and chat throughout – and they did and still do. It is more or less different every time it is screened. In 1977 it was screened in Paris as a two screen 16 mm film. Light Music was first shown as a two part 14 minute videotape at the Serpentine Gallery in the Festival of Independent Video (1975). ![]()
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