Internationally acclaimed artist Eve Sussman incorporates film, video, sculpture, and architecture in her work. Throughout her intense career she has produced numerous installations, employing filmic materials that runs from small analogue film and multi-camera surveillance operations to hi-def film/video productions. In an attempt to investigate the film medium and push the limits of the form much of her work experiments with narrative and addresses the question: “What is a movie?” Sussman’s brilliantly shot and edited films combine lush imagery, time shifts, definition, speed, and many Art History references. Indeed, deeply influenced by mythology and ancient stories Sussman has produced pieces that translates well-known masterworks into her large-scale re-enactments. Her interest lies in figuring out the latent choreography and movement of this piece, which all refer to a moment of observation. Fascinated with surveillance and fragile utopias, the artists explores the history of how to tell stories, how you employ narrative, how you choose to work with language. In her work, Sussman uses film to elucidate the circumstances of an exact moment and its driving mechanisms.

 

Sussman often collaborates with performers, musicians and programmers, sometimes under the name Rufus Corporation.

Eve Sussman founded the Rufus Corporation in 2003. Along with Rape of the Sabine Women, 2004, and 89 Seconds at Alcázar, 2007, the company has collaborated on other projects including Yuri’s Office, 2009, and whiteonwhite:algorithmicnoir, 2011. Rufus Corporation’s works have been exhibited and screened internationally and are included in the collections of the Museum of Modern Art, New York; the Whitney Museum of American Art, New York; The Margulies Collection, Miami; Fundación La Caixa, Barcelona; and Centro Galego de Arte Contemporáneo, Santiago de Compostela, Spain. Eve Sussman is a 2010 recipient of the Anonymous was a Woman Award.

 

How to tell the future from the Past,  (HtttFftPv), by Eve Sussman and Angela Christlieb – shot during a 72-hour train journey across the steppe – conceptualizes time with the manifestation of humanity as the constant, as daily life – history in the making – runs backwards and forwards simultaneously. HtttFftPv elevates the characteristics of humanity that transcend time, exposing us, un-empowered against it. The piece acts as a visual ’captain’s log’, marking time, as if to build a dam of toothpicks against the deluge.