Sarah Morris

Sarah Morris made the film “Capital” in Washington during the final days of the Clinton administration. It is a record of now unimaginable access to the centers of power. Capital continues Morris’ investigation of the way we decode and therefore begin to understand the built world around us. “Capital”, first exhibited at the National Gallery in Berlin (Hamburger Bahnhof) draws a complex and layered city portrait. The Mall, the White House Press Office, the World Bank, uniformed members of the Secret Service, the Presidential motorcade, the Watergate Complex, the Kennedy Center, the J. Edgar Hoover Building, The Pentagon, the daily activities of the President and an overall consideration of the city form a sequence of reflection points for her series of paintings. While her earlier paintings from New York and Las Vegas offered a new examination of the codes and structures of our urban environment, these new works introduce a revised mapping of power, desire, urbanism and design.

Taking its title from an all-day/all-night convenience store, “AM/PM” examines the famous Las Vegas Strip, portraying the disorienting world of corporate hotels and casinos which utilise and redefine the spectacle in relation to architecture. “AM/PM” posits the concept of distraction itself as a strategy and the city as a conspiracy, which manipulates and directs the visitor.

Strange Magic reveals sights of preproduction and postproduction, so in this instance tracking Frank Gehry's philosophy both through a recorded quotation, the corporation's multiple holdings, and the spectacle of the city of Paris itself.

“Beijing”, an 86-minute 35mm film, focuses on one of the most intricate and ambiguous international broadcasted events of past years – the 2008 Olympic Games in Beijing. “Beijing” observes the overwhelmingly perplexing and contradictory economy and authority of China, made all the more resonant in current climate of the global cities.

Investigates the psychology, architecture and aesthetic of the American city. When Mies van der Rohe emigrated to America in 1938, with the help of Philip Johnson, he created an image of America. Continuing to play with duality of place, Morris' Chicago is tandem with Points on a Line, shifting the lens to a panorama of the American city in transition.

A portrait of the legendary Hollywood screenwriter, director, producer and actor that examines the man whose work couples the surface of modern America's economic and cultural success with dark underbelly conspiracy.

Operating between a documentary, the biography of a city and a form of nonnarrative fiction, Miami shifts between sites of production, leisure, and work.

Explores the psycho-geographical urban landscape of Abu Dhabi, its rapid growth, financial prosperity, history, spectacle, and illusion while capturing the citiy's itinerant workforce, architecture, and its potential transition away from oil as a main economic resource.