As a playmaker of phenomenal vision, Zidane had an unusual appeal for artists. His act of retaliatory violence heightened it, remaining enigmatic as neither he nor Materazzi provided a satisfactory explanation, and propelled Gordon and Parreno’s work out of its intended gallery context and into cinemas. Gordon, a Turner Prize winner in 1996, was fascinated with ways of playing with time on video, most famously in 24-Hour Psycho (1993), which slowed down Hitchcock’s film so that it lasted a day. Parreno was interested in the idea of the exhibition as a medium, with shows having a scripted starting-point from which limitless narratives could emerge, and Zidane was able to combine both of their concerns.
By Juliet Jacques.