[Image: From Empire by Andy Warhol, courtesy of the Museum of Modern Art].
Tomorrow at noon here in New York City, a musical event that I would love to attend kicks off: 8 solid hours of sound, providing a live accompaniment for Andy Warhol's Empire—a film notorious for its one, unchanging shot of the Empire State Building.
Hanno Leichtmann, Andrew Pekler, and, most exciting at least for me, Jan Jelinek—who, bizarrely, I once introduced myself to at WMF in Berlin—will be providing the music.
The Museum of Modern Art describes Empire as follows:
- Empire consists of a single stationary shot of the Empire State Building filmed from 8:06 p.m. to 2:42 a.m., July 25–26, 1964. The eight-hour, five-minute film, which is typically shown in a theater, lacks a traditional narrative or characters. The passage from daylight to darkness becomes the film’s narrative, while the protagonist is the iconic building that was (and is again) the tallest in New York City. Warhol lengthened Empire's running time by projecting the film at a speed of sixteen frames per second, slower than its shooting speed of twenty-four frames per second, thus making the progression to darkness almost imperceptible. Non-events such as a blinking light at the top of a neighboring building mark the passage of time. According to Warhol, the point of this film—perhaps his most famous and influential cinematic work—is to "see time go by."
In fact, after a long day spent touring the involuted subterranea of Kentucky's Mammoth Cave back in 2001, Nicola Twilley and I drove home listening to Vladislav Delay's Entain, our car creaking over the hollow roof of an earth below us, its caverns hidden beneath overgrown bedrock, sinkholes perhaps waiting on either side of the highway, heading northwest over collapse-prone mineral logics toward Chicago.
