Home Case studies Théorie du complot / Conspiracy Theory

Janet Cardiff, Théorie du complot / Conspiracy Theory, 2002

Video and audio walk

Digital video camera, headphones, digital videocassette, binaural recording, 16 min. 40s


With the collaboration of George Bures Miller (audio and video editing)

Produced with the support of the Musée d’art contemporain de Montréal

Musée d’art contemporain de Montréal Collection, A 02 45 VID

Janet Cardiff, Théorie du complot / Conspiracy Theory, 2002, Audio-video walk, Collection Musée d’art contemporain de Montréal. Photo: Richard-Max Tremblay, © Janet Cardiff

Produced in 2002, Théorie du complot / Conspiracy Theory is part of the permanent collection at the Musée d’art contemporain de Montréal (MACM). It is a work by Canadian artist Janet Cardiff, born in Brussels (Ontario, Canada) in 1957. Théorie du complot / Conspiracy Theory is a site-specific video and audio walk consisting of the following equipment: a digital video camera, a set of headphones, a videocassette (English and French version) of 16 min. 40 s. with binaural recording. The visitor begins the walk equipped with a video camera, videotape and headphones at a precise location within the MACM. With the camera set on playback mode, the visitor is guided by the artist’s voice while viewing the video. During the walk, the visitor interacts with the surrounding space as the artist leads the viewer to specific sites in around the Museum.

 

In this work, the physical location is an integral part of the walk. Due to major architectural changes being conducted near the MACM, Théorie du complot / Conspiracy Theory has temporarily been removed from the Museum’s presentation space. The redevelopment of the area where the walk takes place prevents the visitor from following the full itinerary, interrupting the experience after 9 minutes and 47 seconds. Also, repeated use of the digital video cameras caused deterioration and a few had to be repaired. While the nine case studies included in this guide present common problems of technological obsolescence, a site-specific work like Théorie du complot / Conspiracy Theory generates further reflection upon ideal conservation strategies. The conservation of this work’s unique characteristics implies not only a consideration of the camera’s functions, weight and ergonomics, screen size and sound quality, but also requires the preservation of the physical spaces integrated in the scenes filmed by the artist.

 

Descriptive table of Janet Cardiff, Théorie du complot / Conspiracy Theory