The Revel Fox
Digital video
10 minutes (approx.)
Colour, stereo, 25 fps, PAL
2004 (unmade)

 

...fades into opening shot from black...

roll title and credits

hold 2 seconds...

cut credits.....

Scene 1 of 1

opens to:
A medium length shot of a corner area of a neutral white cube gallery space. In a heap on the floor several metres from the corner lies a disassembled standard, collapsible domestic laundry drying rack made of wood and vinyl.

continues:
...Revel Fox and assistant enter shot and walk up to the disassembled laundry rack to begin the reassembly.

continues:
...the progressing reassembly process (cable ties are employed as the structure is reassembled).

continues:
...once the rack has been 'fixed', then Revel Fox and assistant walk off shot…

ends with:
...the assembled rack standing in the space....

hold 6 seconds...

...roll credits...

...fade to black...

This project constituted the filmic re-presentation of a live action - an attempt to dismantle the autonomy and temporality of a staged event by mediating the primary experience of the performance through video and sound recording. The planned, formal construction of the video consisted of one static medium length foundation shot throughout with the progressive linear narrative conditional to the reassembly of a laundry drying rack. The video would have been silent except for any dialogue between Revel Fox and his assistant.

The Revel Fox planned to feature the imposition of a standard laundry drying rack into a neutral white cube gallery space. The drying rack was conceptually framed according to function and design – the former is obvious while the latter was defined as a pseudo-Modernist sculptural idiom in the vein of Fuller’s geodesic domes; Brancusi’s Endless Column; Duchamp’s readymades or Sol LeWitt’s form of Minimalism. Yet to define function purely as an obvious domestic object belies the rack’s complicated construction - the process of reassembly would have been taxing and to some extents a structural puzzle. Hence the proposed need for an assistant with cable ties.

The employment of cable-ties to secure the structure during the reassembly would have rendered the collapsible feature of the original design void. The utilitarian domestic object would have been ‘fixed’ by a renowned architect – as Warhol produced the office building as art object, my intention was a similar ‘treatment’ of the drying rack – but rather than film the laundry rack for eight hours, I instead planned to record the approximately ten minutes it might have taken for a renowned architect to reassemble it. An act that despite the film's title would have refigured the domestic contrivance, and not the architect, as art-object. This ridiculous application of over-qualification intended to refigure the architect simply as a reassembly technician to critically access the relative positions and merits of prominent, singular creative producers - particularly within the uniquely uncritical architectural discipline. In the context of the white cube gallery space and in the presence of the mechanics of video and sound recording, the actions and intentions of Revel Fox would have been serious. However my framing of that recording would not have been - The Revel Fox was planned as a conceptually motivated trap that would produce a readymade.

Revel Fox died on 13th December 2004, aged 80 years old.

 

 

 

 
 
   
    American Pavilion
Buckminster Fuller : 1967
© Canadian Government Tourist Bureau
   
    Sculpture Series ‘A’
Sol LeWitt : 1967
© Leo Castelli Gallery, New York
   
    Endless Column
Constantine Brancusi : 1938
   
    Revel Fox in 1991
   
 

 

 

 

 

 

 

 

Empire
Andy Warhol : 1964
© Warhol Enterprises