When Horses Were Coconuts


In light of the COVID-19 pandemic, our Midnight Moment series is on pause for the first time in its 8 year history. When Horses Were Coconuts will be on hold until further notice while March’s Midnight Moment, Jeffrey Gibson's She Never Dances Alone, will continue on until we can gather once again in Times Square.

13BC is an art collective whose moving image work, informed by detailed research into historical and literary sources, attempts to visualize what cannot be seen by the human eye. Their Midnight Moment, When Horses Were Coconuts (2019), is one of four parts of a larger project titled Fatal Act, which considers the legacies of the atomic bomb.

13BC shot When Horses Were Coconuts underwater, swimming towards a waterfall in an upstate tributary of the Hudson River, and then inverted the footage. By flipping the river’s surface upside down they create an otherworldly effect; the camera seems to skim over a quicksilver sea churning with toxic neon, as light rays stream and air bubbles rush through a murky sky.

13BC captured these ethereal images as a part of their examination of the intertwined history of military technology and mass-media spectacle, specifically inspired by 1951 CBS News coverage of an atomic bomb test in Frenchman Flat, Nevada. While cameras captured what became the first live-televised footage of the bomb, no adequate sound was recorded. Instead, an influential Foley (sound effects) artist named Robert L. Mott reimagined the sound for television by sourcing an audio recording of a waterfall from the CBS sound library, re-recording it backwards and slowed down. The deep rumble he fabricated not only aired the night of the live-televised event, but became the infamous sound associated with the atomic bomb to this day. When Horses Were Coconuts serves as an analog to this recording, a visualization of Mott’s mythologized sound “to be heard with the eyes.”

“Televised events like atomic bomb tests, the moon landing, or more than a century’s worth of Times Square New Year’s Eve Ball drops, were not only massive media spectacles. They also marked a time of simultaneous yet atomized viewing, of millions of people around the world watching and listening to an epochal event from their living rooms. Here, displayed simultaneously on multiple screens, and silent amidst the noise of Times Square, a small stream 120 miles north becomes the glittering image of a sound that shaped a half century of atomic imagination, anxiety and threat.”


13BC is a research and production collective for moving images co-founded in 2015 by Vic Brooks, Lucy Raven, and Evan Calder Williams. 13BC’s solo exhibition Fatal Act premiered at 80 Washington Square East Galleries, New York University in 2019 and subsequently toured to Douglas Hyde Gallery, Dublin. Previous exhibitions and screenings include Modern Mondays: An Evening with 13BC, Doc Fornight 2020, The Museum of Modern Art, New York (2020); La Grand Balcon, La Biennale de Montréal (2016); Each Aspect of Life Is a Thing of Triad, mumok, Vienna (2016); Fade In: Int. Art Gallery - Day, Swiss Institute, New York (2016); Over You/You, 31st Biennial of Graphic Arts, Ljubljana (2015); and Random Acts, Frieze Film / Channel 4 Television, London (2015).


Lucy Raven (b. 1977, Tucson, Arizona) is an artist based in New York City. A co-founder of 13BC, her work is grounded primarily in animation and moving image installations. She has had exhibitions and screenings internationally, including at the Guggenheim Museum, New York; The Serpentine Gallery, London; MoMA and PS 1, New York; Portikus, Frankfurt; the Tate Modern, London; and the Hammer Museum, Los Angeles. A new permanent public artwork will open this September at the forthcoming Bauhaus Museum in Dessau, Germany on the occasion of the 100th anniversary of the school’s founding. She teaches at Cooper Union School of Art in New York.


Evan Calder Williams (b. 1982, Portland, Maine) is a writer, theorist, and filmmaker based in Shady, NY. He is the author of Combined and Uneven Apocalypse; Roman Letters; Shard Cinema; and two forthcoming books, The Negative Archive and Manual Override: A Theory of Sabotage. He is an editor of Viewpoint Magazine and the translator, with David Fernbach, of a new edition of Mario Mieli’s Towards a Gay Communism. His individual and collaborative films, installations, and audio works have been exhibited at the Berlinale, Mercer Union, ISSUE Project Room, the Festival du Nouveau Cinéma, and other institutions and festivals. He teaches at the Center for Curatorial Studies at Bard College.


Vic Brooks (b. 1979, London, UK) is a curator and filmmaker based in Shady, NY. Alongside co-founding 13BC, she is senior curator of time-based visual art at EMPAC / Curtis R. Priem Experimental Media and Performing Arts Center at Rensselaer Polytechnic Institute, co-chair of the Contemporary Curatorial Workshop at Williams Graduate Program in the History of Art, and works with the Calder Foundation to commission artists working in moving image. Brooks has commissioned and produced new works in the expanded field of visual art, moving image, and performance with artists such as Charles Atlas, Rashaun Mitchell and Silas Riener, Martine Syms, Laure Prouvost, Ephraim Asili, Beatriz Santiago Muñoz, Clarissa Tossin, and Moved by the Motion (Wu Tsang, boychild, Josh Johnson, Patrick Belaga, Asma Maroof).