Jennifer & Kevin McCoy: Robot Films

  • 5 September 2003 - 19 October 2003

FACT is delighted to present the first UK solo exhibition by the Brooklyn-based artists Jennifer and Kevin McCoy. Over the past decade the McCoys have produced a number of outstanding multimedia projects that explore the intersection of television, film, narrative, and computer databases.


For more more information on the artist please visit

The title of the exhibition, Robot Films, refers to the role that automata and machines play in both the production and experience of the work and the most visible in Soft Rains  (2003), the project that the artists have specially produced for Gallery 1 at FACT. Soft Rains combines minature movie sets, surveillance cameras, and switching systems, allowing viewers to observe a film and its production in its entirety. The mini-stories are then projected onto a large screen in random sequences. The McCoys liken the project to a visit to Universal Studios, the theme park that helped promote out fascination with the meta-narratives of the filmmaking process. However, while Universal Studios elevates film production to heroic proportions, the McCoys srink the enterprise. Each mini-film is based on a particular genre, ranging from thriller to romance to comedy. The resulting miniature movies and sets highlight our culture's fascination with the storytelling process, revealing the mechanisms and artifice behind the magic of cinema.


Two recently produced projected film works will be presented in Gallery 2. In The Kiss  (2002), the McCoys recreate a scene based on the famous kiss between William Hurt and Kathleen Turner in Lawrence Kasdan's Body Heat  (1981). In Horror Chase  (2002) the artists meticulously reconstruct the mountain cabin set used by director Sam Raimi for his horror classic Evil Dead 2 (1984) with the actor (Adrian Latourelle) perpetually pursused by an unseem assailant. A computer, housed in a suitcase and visible to the viewer controls the images by making decisions about how the sequence proceeds. Therefore, unlike traditional film narrative, these moments do not resolve themselves but are eternally suspended, reversed, stuttered, and repeated. The resolution of the story only comes about in our own imagination. 

Soft Rains is commissioned by FACT in association with Creative Capital, New York.