Good as Gold
This is Lover Set in Exhibition on 17/03/2014
THE TRANSFINITE, Ryoji Ikeda
Video installation at Park Avenue Armory, NY
Fantastic, epileptic stuff. One way to create this might be with Chrome WebGL/programming to create an audio visualiser. Jealous of the technology and funding needed to create projectors that span an entire space [ world ].
For my Territory of Practice, I chose the Staging group due to its strongly connecting with my previous work Art and Objecthood 1967, which was playfully loops of a series of staged set performances with chopping and crafting fruits and vegetables clumsily in particular shapes being dictating by a hand outside of the screen and was recorded by a 9-monitor video installation. The subtle and nervous actions as well as the occult environment she performed built a strange atmosphere of this sculptural, and also physically occupied the work. In the performances the way she played/displayed the fruits and vegetables looked like she was in a series of classic life or perhaps theatrical setting.
Theatricality is one of Staging’s characteristics depending on the experiences of audiences and viewers. Michael Fried pointed out ”theatricality in minimalism art” in his most famous essay Art and Objecthood which was also the highlight point of my work Art and Objecthood 1967.I have brought the related theory book to our Territory of Practice reading seminar. Michael Fried criticised the minimalism art on that book. He pointed out that artists of minimalism did not seem to pay attention to the artwork itself, however, inversely they tended to focus on the relationship between artwork and space or environment. Hence, it made the presence of minimalism like a kind of stage presence, which was basically a theatrical effect. In my video installation, I presented the process of chopping different kinds of fruits into sculptures, but none of final sculptures was shown at the end, because those fruits only existed as stage props rather than presenting themselves. The most important part was the process how I arranged those fruits into the situation of what I was doing and how I was doing.
As for staging and theatricality, I listed out some words, such as structuralism, performativity, materialized as the keywords of my research. With the expecting of Semiotics of the Kitchen by Martha Rosler, Poliedro de Frutas(Fruit polyhedron) by João Maria Gusmão and Pedro Paiva, also Entangled2 (Theatre II) by Lindsay Seers, We had gone to her show in Matt Gallery on our group gallery visiting day.
Entangled2 (Theatre II) is an immersive video installation backing to the androgynous themes. The maximum of audiences was two at the same time. Each audience had an independent seat and independent window to appreciate the work. The video was about a half-true ‘history’. All of images were projected on two big white balls, and the background was a red stage curtain. At the exit, lots of ‘historic’ photos were against the wall with half true faces as well. This video installation showed a very strong connection with theatricality, both the installation setting and the video itself. For the installation, Seers had transformed the gallery space into a hybrid theatre set, a booth, a cinema of sorts, a show case, a shop window, or a viewing room which seemed to distance the video from the audience both in psychologically and physically, and it might be one of the reasons why the audience felt theatricality. For the video itself, it was immerged someone dressed up likes someone else by acting and fabricate. Seers used a very theatricality way to mirror Seers’ on-going investigation towards the synthesizing of classic dichotomies of self/other, male/female, and truth/lies.
Entangled2 (Theatre II) is an immersive video installation by British artist Lindsey Seer who returns to androgynous themes present in her 2009 work it has to be this way at Matt’s Gallery. This work only allow two audiences get in the space at the same time, each audience have a independent seat, and independent window to watch the work. The video is about a half-true ‘history’. All of image projected on the on two big white balls, and the background is a red stage curtain. On the exit, lots of ‘historic’ photos over the wall, but half true half face as well.
This video installation get a very strong connection with out ToP’s theme－Staging or we can say theatricality, whatever the installation setting or the video itself.
For the installation setting of this work:
After we talk with Robin Klassnik(curator of Matt’s Gallery), we just know Seers transforming the gallery space into a hybrid theatre set, a booth, a cinema of sorts, a show case, a shop window, a viewing room, this kind of setting seems to pull the distance between the audience and the video away whatever in psychologically or physically, but is it one of reason that to make audience feels theatricality of this work
Also, this work is about doubling, to be seen by two people through two windows in two rooms on two screens. Seers seem to want to control the relationship between audience and audience. A couple of people who book an appointment and then come together to see this show in a small place that only them two. The whole process for audiences such as an event, that is very similar with go theatre or cinema. So the theatricality of this installation which not just in the installation itself.
For the video itself
Audience will hear a sentence in the very beginning of this video:Woman always dress up like a man. This sentence is one of very important clue in this video, which give audience a massage about acting and fabricate
The Renaissance ‘theatre of the world’ motif of this previous work is bastardised by Seers into vaudeville; a theatrical genre comprising of a series of segments in which the artifice of the staging is absurdly evident and failure is omnipresent.
Seers treats the past as a myth made of parts that seem to make a coherent whole, of which every element is true, but a fiction is created in the collaging of these fragments as a misconstrued totality.
Biography plays a key role in Seers’ work, but is rarely used in an ordinary or straight sense. Stories and lives are used as a more complex narrative vehicle in which coincidence, chance and chaos seem far more at play than any singular notion of freewill or determinism. Entangled2 is use a very theatricality way to mirrors Seers’ on-going investigation towards the synthesising of classic dichotomies between self/other, male/female, and truth/lies.
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