Heaven Can Wait (2001 – ongoing)
The key focus of the Heaven Can Wait project is the revolving restaurant perceived as an optical device, where the attributes of elevated view combined with mechanical motion evoke a cinematic experience. From a purely technical standpoint, the revolving restaurant can be characterized as a form of kinetic architecture that enjoyed its initial popularity during the Cold War, thanks in part to unprecedented technological progress on a global scale. Today there are hundreds of such gently spinning restaurants around the world and their elevated revolving views continue to attract and impress patrons across generations. Heaven Can Wait is drawing on a vast field of interdisciplinary research with a hybrid emphasis on art, architecture, philosophy and cinema. Cinema is here seen as a broad context of cultural practice, including the shifting position of the observer in modern visual culture. Similarly, we treat architecture as a medium in and of itself as a perceptual mechanism and semiotic tool. Based on a sort of retrograde remediation, the revolving restaurant’s view incorporates something of the general cinefication of everyday life, which increases in power after the 1950s. Working from within a postindustrial Information Age perspective, the Heaven Can Wait project seek to illuminate certain time-images of our everyday environment, exemplified by the revolving restaurant, but also found in various modes of transportation and travel, as a cinematic experience. Currently, the project features the views from 37 revolving restaurants exhibited on equal number of revolving projectors distributed randomly throughout the exhibition venue.
Bull.Miletic are visual artists Synne T. Bull and Dragan Miletic who have been working together since 2000.
Their work brings into question the entangled histories of the moving image and spatial perception, addressing the intersection of esthetics, politics and technology through film, video, installation and text. Showed at Venice Biennale, California Biennial, WRO Media Art Biennale, Yerba Buena Center for the Arts, San Francisco, German Architecture Museum, Frankfurt, Künstlerhaus Bethanien, Berlin, Pasadena Museum of California Art, Victorian Arts Center, Melbourne, Pacific Film Archive, Berkeley, Ulrich Museum of Art, Wichita, Henie Onstad Art Center, Høvikodden, and Museum of Contemporary Art, Belgrade. Recipients of the Bay Area Video Coalition’s Video Maker Award and Oslo Screen Festival’s Best Norwegian Video Award. Nominated for Rockefeller Media Art Award as well as SFMoMA’s SECA Art Award.
Foto kreditt for portrett: Frode Olsen
Foto kreditt for foto av kunstverk: Line Bøhmer Løkken