he two giant video screens at Granville and Robson normally snap and crackle with quick-hitting, colourful ads for companies such as Telus, Fido and WestJet. But next week, they’ll be showing something something completely different: two short films by internationally acclaimed artist Antonia Hirsch.
Nestled among flashy ads and quick-bite movie trailers at Robson and Granville is a new experience from visual artist Antonia Hirsch called Vox Pop. The Video project features two separate sequences, one in which the camera pans the stadium at the same rate as the sporting-event fans’ wave would be followed. The camera then rests on a sole male spectator, who rises as if taking part in the wave. Both one-minute sequences are inserted between ads.
Lynne Marsh’s Stadium (2008) and Antonia Hirsch’s Vox Pop (2008) revolve around solitary figures within sports arenas. Grid-like formations of fixed, empty seating serve as both backdrop environments and the presence of absent crowds. Each work adopts the seamless production values and structural familiarity of contemporary advertising and televisual entertainments. Vox Pop is a silent two-channel video work one minute in duration.