Shot in a former Masonic temple in Los Angeles – a five-story warren of large, cavernous rooms akin to a windowless convention center – Temple Time unfolds like a horror-movie group expedition in a campsite wasteland. Exploring the mildly eerie wilderness substitute, the characters talk about what they see instead of how they feel, giving the impression that everything they encounter is a discovery. For some characters these discoveries feel like memories of events that are about to repeat – the past and the future seem to occur simultaneously via overlapping layers of reality. The use of different video-capturing technologies – including handheld cameras, drones, and GoPro action cameras mounted to the actors’ bodies – offers numerous perspectives and vantage points, reinforcing Trecartin’s exploitation of cinematic discontinuities. In Temple Time, purpose and agency are constantly delayed and the multi-linear narratives are expressed in a networked sense of time.
Temple Time, 2016 © Ryan Trecartin Courtesy the artist, Regen Projects, Los Angeles and Sprüth Magers
SONAE Room
entry: General ConditionsRYAN TRECARTIN "Temple Time"
2019-03-15
2019-03-31
Partnerships
On Exhibition
Night for Day, 2020
EMILY WARDILL
2024-04-19
2024-06-23
This is a work of enormous rigor and cinematographic quality, which expertly and dialectically explores Portugal's recent history, contributing to the urgent and incessant search for the meaning of democracy and freedom
Léthê's daughters
2024-04-04
2024-04-28
Curatorship: Lúcia Saldanha
Making visible the identity and memories of women who were and are part of history before and after April 25th, addressing the fragility and instability of rights conquered and yet to be conquered,