The Third Memory (1999)

Using time memory and the texture of everyday experience as his mediums Pierre Huyghe conflates the traditional dichotomy between art and life Working in an array of cultural formatsfrom billboards and television broadcasts to community celebrations and museum exhibitionshe reformulates their codes and deploys them as catalysts for creating new experiential possibilities A mode of perception that lies in the interstices between reality and its representation is the subject of his twochannel video The Third Memory 2000 which reenacts the 1972 holdup of a Brooklyn bank immortalized in Sidney Lumets acclaimed film Dog Day Afternoon 1975 Almost 30 years later Huyghe provides a platform for the heists charismatic mastermind John Wojtowicz to relate his version of that infamous day in a reconstructed set of the bank