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.

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photos: Nysos Vasilopoulos, 6th Athens Biennale 2018 ANTI