Exhibition is a video about art, its reception and the discourse it generates as well as the work involved in the production of exhibitions. Exhibition reflects the rituals and conventions of the social dimension of art and the failure of educational projects based on assumptions of the universal aesthetic experience. The video uses as a subject the Soviet documentary film Noble Impulses of Soul (1965), by Israel Goldstein. In typical 1960s Soviet style, the pedagogical tone of the film’s narrative praises the efforts of a provincial museum in the village of Parkhomivka in Eastern Ukraine revolving around an exhibition of contemporary Mexican art presented at the museum and an art history lecture at a village farm. The reprocessed video restructures the primary components, eliminates the voice of the narrator, and reorders the chronology of the film to break the continuous realistic world of documentary and allude to the standardized and meaningless language that talks through people. [Sean Snyder, Olga Bryukhovetska]

It is characteristic of television to be used as an accompanying moving background to other activities?eating, doing all kinds of housework, waiting?all these activities can be accompanied by adulling, monotonous temporality. Zapping, in turn, can modify the rhythms created by TV programming itself. Sean Snyder’s 2007 single channel video Schema (Television) is an intricate montage of seemingly disparate TV shows, from weather forecasts to cooking shows and political events, with some animals thrown in; none is on view for more than a few seconds. While the piece can be read a critique of the relentless formatting of television and its reduction of news to entertainment, this quite generic critique only becomes effective because of somewhat unsettling flattening of affect that seems to characterize the zapping subject that is performing this impoverished edit. Is there even a subject behind these acts, or just a distended subjectivity modulated by the flow of images?
[Sven Lutticken, History in Motion: Time in the Age of the Moving Image, Sternberg Press, 2013, p.119.]