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It is full of deliberately disorienting reflections: Are we inside a building looking out or outside looking in?
Filled with oblique angles, unexplained jumps in chronology and location shifts, disorienting disguises and pacing hiccups, ``Time and Tide'' is very much the work of a director trying to call attention to himself.
The new work attracted enormous crowds, who patiently waited to enter the disorienting passages of the two giant spirals as though in line at a theme park.
But she says her job as an American military nurse in ``Pearl Harbor,'' the most expensive super-production Hollywood has ever green-lighted, was not a totally disorienting experience.
Daniele Puppi's videos, with their strongly disorienting spatial effects, are always disruptive--and they achieve this without recourse to advanced technology.
Macy, Neve Campbell and Donald Sutherland - find very compelling behavioral paths through writer-director Henry Bromell's disorienting, architecturally composed, wide-screen emotional wasteland.
Bu when one considers the overlit conversation (or dual interrogation) they would have in the object's claustrophobic and disorienting interior, the piece takes on a slightly diabolical aspect.
He went out with ``Like a Hurricane,'' a bombast of feedback and sub-bass that, punctured by strobing lights, was as disorienting as a combat beach landing.
Boas has an eye for the moment in all its disorienting actuality, the wrongness of his signifiers signifying the incongruity of what he sees.
Shot with mini digital video cameras and employing a vast array of archival footage, the film has a disorienting, often ugly look that, while hard to take, perfectly complements its dispiriting subject.
But a weekday visit suggested that the families of both bride and groom adjusted fairly well to the unconventional union of art and artifact that gave rise to an appropriately disorienting range of variants: maps in art (Broodthaers, Alighiero e Boetti), art in maps (twenty historic atlases), mapping in art (Gerhard Richter, Fischli & Weiss), maps as archetypes (Matt Mullican), or again, art as maps (Lawrence Weiner, Gabriel Orozco), as cosmology (James Lee Byars), as chronology (On Kawara), or as urban topology (Piero Manzoni, Aglaia Konrad).
Other paintings create a disorienting experience for the viewer by refusing the rectangle's right angles: In the sculptural Full Farewell, 1999, two thick, oddly shaped canvases are pressed together in a "kiss," sealed by the uniform turquoise paint and by the silent tension between their oblique angles and the planes of the gallery's ceiling and floor.