Video HD, 33’, 2”
In Comma Boat, we’re stuck in a mock-authoritarian fantasy—a power trip. The movie centres around a director-character played by Trecartin who oscillates between feelings of omnipotence and self-doubt. […] The director gloats and frets about professional and ethical transgressions. “ know I lied to get ahead,” he admits at one point. “I’ve made up so many different alphabets just to get ahead in my field.” The director is fancier now, but the fear nags that he might be “repeating” himself “like a dumb soldier ova and ova and ova and ova.” The meta-connection to the artist’s own career, while obvious, is also a decoy. […] If CENTER JENNY sounds an alarm about the artist’s complicity and helplessness within a system of indecipherable tribal rituals, and, more broadly, about any individual’s powerlessness with respect to historical change, Comma Boat raises the possibility that these worries are essentially bullshit—convenient red herrings that disguise a deeper, more terrible truth: that in fact we have been in control all along, that we’ve stage-managed every aspect of this dream, and that our actions have not only damaged our own lives, but potentially the lives of others as well.— Christopher Glazek
The four movies CENTER JENNY, Item Falls, Comma Boat and Junior War were exhibited as a tetralogy inside the Priority Innfield sculptural theatre, comprising five pavilions.