the last image
ink-jet print on vinyl, 120 x 156 inches; 2002

millennium panic pictures logo
quicktime movie, dimensions variable; 2002

millennium panic - installation view 1
mixed media installation, dimensions variable; 2002

millennium panic - installation view 2
mixed media installation, dimensions variable; 2002

misprinted film posters
ink-jet prints, foamcore, plastic wrapping, wooden pallettes, dimensions variable; 2002

mis-printed film posters - Meet Me at the Millennium, rated R (mis-print)
ink-jet print, 30 x 40 inches; 2002

millennium panic - installation view #3
mixed media installation, dimensions variable; 2002

list of names (The Lost) - version #2
vinyl lettering, dimensions variable; 2002

millennium panic - audio guide on cd
audio file, cd players, dimensions variable; 2002

location shots (The Alamo)
digital C-print, 30 x 40 inches; ongoing

location shots (Grand Canyon)
digital C-print, 30 x 40 inches; ongoing

location shots (Memorial Fountain)
digital C-print, 30 x 40 inches; ongoing

location shots (Millennium Bridge)
digital C-print, 30 x 40 inches; ongoing

location shots (Ground Zero)
digital C-print, 30 x 40 inches; ongoing

location shots (Hill)
digital C-print, 30 x 40 inches; ongoing

location shots (Gainsford Street)
digital C-print, 30 x 40 inches; ongoing

location shots (Wellington Arch)
digital C-print, 30 x 40 inches; ongoing

location shots (Times Square)
digital C-print, 30 x 40 inches; ongoing

location shots (Roosevelt)
digital C-print, 30 x 40 inches; ongoing

location shots (Grief is the price we pay for Love)
digital C-print, 30 x 40 inches; ongoing

location shots (Sky City)
digital C-print, 30 x 40 inches; 2004

The installation Millennium Panic utilises images, objects, video and the installation's site (a former fire station) to discuss both the initial meeting of Martin MacAnally with Katy Freeway and the alleged controversy surrounding the final scene of his film ‘The Lost’. By viewing this history through the lens of contemporary events in terms of a pre and post 9/11 world, the installation aims to further the debate of the ‘airbrushing’ of historical event via the media and how truth and myth can become intertwined and co-dependent.

"On Christmas Day 2000, I visited the observation deck of the World Trade Center, where I took many pictures including the one shown in this installation. The image has haunted me ever since: this picture - just like millions of others taken by tourists like me over the years - is now part of history. It will be impossible to ever re-visit that moment or place and to see that view. I began to wonder whether peoples' forgotten vacation photos and videos (like the one shot by the man in the show’s central image) are being looked at again all over the world, now seen in a much more sombre light..."


:extract from catalogue interview with Chris Ballou

Credits

Cast

Stine Gonsholt
Systa Gunnarsdottir
Arildh Mehn-Andersen
Jill Wood
& Katharine Wilson


including music by

Bedroom Walls
Very Large Array
ERH

Filmed on location in Iceland


Written & Directed by
Duncan Ganley

Reviews

"A plot worth taking in, from start to finish"

Douglas Britt - Houston Chronicle

"...posing the rhetorical question of who is behind the camera"

Nicholas Kersulis - Artlies

"A taut study in withholding catharsis or conclusion"

Christopher French - Art Papers