Posts tagged ‘video’
This Is Not America: Protest, Resistance, Poetics, on view now at the ASU Art Museum, gives a startlingly fresh look at the intersection of art and social change through allowing works to converse with one another. Curated by Julio César Morales, with assistance from ASU College of Liberal Arts and Sciences graduate student Indira Garcia, the three-part exhibition pairs works from the museum’s collection with those of emerging and established artists in a sort of “question and answer” format.
Part 1, on view now through Nov. 9, 2013, marries a painting by Cuban collective Los Carpinteros with an animated video by contemporary Seattle-based artist Paul Rucker, in an effort to “explore the power dynamics and political implications of oppression,” according to Morales.
“The exhibition title takes a cue from Alfredo Jaar’s seminal 1987 public art video intervention at Times Square in New York City, A Logo for America, a three-part video animation that plays off the notions of ‘America’ and its relationship to citizenship, homeland and borders,” says Morales.
On the east wall of the gallery hangs Dominar Bestias/How to Dominate Beasts, the watercolor painting by Los Carpinteros, whose name “derives from the historical term for skilled slave laborers,” according to Morales. Within the painting we are shown a number of household objects, such as dressers and chairs, shackled to a fence that corrals them, as though they were animals in a paddock. It is unclear whether they are being chained to the fence so that they do not escape, or whether it is the fence that is tied down to these material goods. One begins to wonder who or what is being dominated, and, beyond that, who or what the beasts are.
Across the darkened gallery is Paul Rucker’s video piece Proliferation, projected on the wall opposite the painting. Rucker was inspired to create the piece while at a “prison issues” residency at the Blue Mountain Center in the Adirondacks, when he discovered a series of maps created by researcher Rose Heyer that showed the growth of the United States prison system over time. Rucker, a musician as well as visual artist, created the durational piece from the maps and also composed the original score.
“A word that can refer to healing of a wound through rapid growth of new cells, Proliferation explores the evolution of prisons in the United States through an animated series of colored dots indicating location and number of prisons from 1778-2005,” says Morales. “The incarcerated are a relatively invisible aspect of American society… [but] the United States leads the world in the number of people behind bars.”
To Rucker’s score, each new prison appears on the projection as a dot of color, starting first as green specks and escalating in intensity into brilliant red and orange flashes. While viewing “Proliferation,” one is struck by how quickly the outline of the United States is formed, beginning first with New England, but quickly springing across the map to the West Coast. The colored dots, illuminated against a black background, echo other, similar maps, such as those illustrating light pollution from major cities, or urban sprawl.
As the piece goes on, the green dots begin to merge, turning yellow, and the music takes on a more ominous tone. The dots appear in faster succession, sprawling across the map, until there is no one section that is free of color. They evolve from isolated flashes of yellow into orange and then red masses, joining together with sharp, jolting regularity, like explosions. One feels like a cat, mesmerized, watching a laser dart around a wall. But with this feeling of not being able to look away, to stop chasing the flashes of light, the music suggest something darker, a sinking feeling in the pit of one’s stomach. This is not a game. This is serious.
The two pieces, poised opposite each other in the Americas Gallery on the second floor of the museum, both face off against one another and speak to each other. Their conversation occurs in the space between, where the viewer is invited to sit, to pace and to contemplate.
–Juno Schaser , Public Relations Intern
Part 1 of This Is Not America will close on Nov. 9, 2013, with Part 2 on view Nov. 16 2013 – March 15, 2014, and Part 3, co-curated with ASU MFA students, up from March 22 – June 6, 2014.
Artists include Facundo Arganaraz, Sandow Birk, Los Carpinteros, Juan Capristan, Enrique Chagoya, Binh Danh, Kota Ezawa, Eamon Ore-Giron, George Grosz, Ana Teresa Fernandez, Jon Haddock, Alfredo Jaar, Michael Lucero, Carrie Marill, Sanaz Mazinani, Ranu Mukherjee, Georgia O’Keeffe, Gina Osterloh, Raymond Pettibon, Michele Pred, Ken Price, Jerome Reyes, Paul Rucker, Rene Francisco Rodriguez, Fernando Rodriguez, Lorna Simpson and Adriana Varejão.
Each piece in the exhibition Turn off the Sun, on view at the ASU Art Museum through Sept. 7, packs tremendous heat, power and impact. Drawn from La Colección Jumex in Mexico City, an incredible private contemporary art collection of about 2,600 works, Turn off the Sun displays two dozen of these searingly honest and beautiful pieces. This is only the second time that any of the Jumex collection has been shown in the United States.
The exhibition title did not come about from a concentrated brainstorm though, but rather from joking about the weather. During Jumex director Patrick Charpenel and curator Michel Blancsubé’s site visit to the ASU Art Museum in the summer of 2012, the two started an ongoing joke about how someone needs to “turn off the sun.” When curator Julio César Morales joined the staff in the fall and heard it, he pointed out how that’s not necessarily a joke—that’s a great name.
“When I heard this phrase, I thought it was a brilliant title, and the more it was discussed by myself and Heather Sealy Lineberry, the more we thought the title really connected with artworks in the exhibition and addressed ideas of site, adaptability and physical displacement,” Morales said.
ASU Art Museum senior curator and associate director Heather Sealy Lineberry said the museum staff became interested in the social and political implications of brining the contemporary art collection from Mexico to Arizona and how the content of the work would shift just by the very nature of having it here.
The artworks address several types of issues between Mexico and the United States, among them borders, landscape, lines, labor, politics, economics, faith and awareness.
One example is “Cuando La Fe Mueve Montañas” (“When Faith Moves Mountains”) by Francis Alÿs, a conceptual performance artist. In the multimedia installation, the artist has a group of people move a mountain with shovels to create a line, like a curious border. Another is “Security Fence” by Liza Lou, which explores dark psychological spaces of violence and confinement. Santiago Sierra’s artwork “3000 holes of 180 x 50 x 50 cm each” is a triptych of three photographs and a performance piece that he created while in southern Spain, looking across to North Africa where many immigrants come into Spain. On video Sierra highlights matters of struggle and immigration by showing the 3,000 shoveled holes, mostly dug by Senegalese and Moroccan day workers over the course of a month with a Spanish foreman overseeing the labor.
“These three pieces pulled at our imagination and were tremendous anchors for what we wanted to do with the exhibition,” Lineberry said.
In an interview with San Francisco Arts Quarterly, Blancsubé also explained, “I generally don’t choose a theme and then look for artworks to sustain or feed it… I am seduced by artworks and imagine funny games between them. The theme or the discourse comes after or during the construction, and in a way it is suggested by the artworks themselves.”
Along with the choosing of the exhibition title, another unexpected aspect of Turn off the Sun is that there are no labels next to the pieces. Instead, there is printed material at the entrance of every gallery space that includes technical information, biographies and further text about the artistic process of all the artworks. This allows people who want to make their own relationships with the work to have that possibility. With each exhibition, the museum experiments with how to provide information for the visitor, and different kinds of exhibitions warrant different information systems.
Blancsubé said the information related to the artworks is accessible for curious visitors, “but not having plaques plugged on the wall near the artworks allows visitors to have a first approach of the artworks on their own without receiving from the beginning glasses that oriented their viewing.”
“We thought the design and artworks look so clean and beautifully installed that labels would interrupt the artwork itself,” Morales said. “I was more interested in the audience having a visceral experience of the work and engaging with it without any other materials to distract from that experience.”
Though some visitors are more comfortable with text panels, many are pleasantly surprised and enjoy the practice of making their own connections with the works.
Lineberry said she sees people relating to the artworks and broadening their thoughts about the border: “I think a lot of people are coming away with a pretty amazing experience of the works individually and the process of piecing them together as a narrative in their minds.”
–Mary Grace Richardson
Images, from top: “Overpass,” by Jeff Wall; “Cuando La Fe Mueve Montañas” (“When Faith Moves Mountains”), by Francis Alÿs; “Security Fence,” by Liza Lou, and “3000 holes of 180 x 50 x 50 cm each,” by Santiago Sierra. All photos by Craig Smith.
Guest blogger and ASU student Veronica Rascona writes about the ASU Art Museum’s Fall 2012 Season Opening Reception:
At 6:30 on the evening of September 28, the ASU Art Museum launched its 2012 season. People gathered in the darkness at the front of the building to talk, eat and watch a performance by the mixed parkour, martial arts, dance and acrobatics group Movement Connections. The group, dressed in white, took advantage of the museum’s unique structure as they silently crawled, leapt and ran all over the walls and stairs of the Art Museum’s entrance.
In a touching moment, a little girl got caught up in the mix and one of the performers invited her to perform a stunt with him—a simple handstand, nothing dangerous. After performing a few more acrobatics on their own, eventually the performers climbed up onto the cement pillars in the front of the Museum. They performed a few stunts and then began pointing toward the façade of the museum upon which a video was being projected. It appeared to have been filmed from the window of a car and depicted an expanse of desert landscape rushing by.
The video continued to play as Movement Connections wrapped up their performance. People then began to shuffle down the stairs, waiting for the next sequence in the evening’s activities. Some ventured into the Museum to look at the current exhibits on display, while others, like myself, sat just outside the doors, taking in the array of lights that filled the underground courtyard—part of the “55: Music and Dance in Concrete” performance that would start at 7:30 p.m.
I sat to one side of the courtyard and began to notice other elements—a video of an eye opening and closing and rolling around in its socket was projected onto the back of the pillars that outlined the courtyard. Above and below the eye was the phrase, “Don’t touch me!!” projected backwards. It was somewhat disturbing,and I did not know what to expect from the performance after seeing these images. Just before the performance began, the audience was instructed as to where to stand in order to best view the performance, but were also told that the performers would be moving throughout the space alternately providing various vantage points a better view.
The crowd gathered, and from my vantage point I witnessed three of the visiting dancers, each dressed in red, black and white, slowly fill the empty space between us and the Museum. I could not see what was happening on the other half of the courtyard as it was blocked by cement pillars and benches, but this was how the show was meant to be viewed: people seeing different parts of the show, each person having a unique viewing experience. The three girls on my side slowly moved into position.
The lights changed from bright white lines filling the space to a strange speckled effect, and music composed of electronic sounds, “from 55 improvised and 55 composed pieces” started to play. The dancers began to move. Their dancing was rapid; they moved convulsively, throwing themselves at the cement walls and against the floor as the lights continued to change and pulse. The effect was alarming and intriguing. As the dancers moved throughout the space, the crowd adjusted to watch each new scene; at one point the only male dancer shut himself behind a gate while a video of him stuck in what seemed like a jail cell played on the wall behind the bars. The video cut from scenes of him in the cell, to the real dancer performing similar movements in the real, jail-like space.
The music and lights continued to change as the dancers set and reset their stage, from one side of the courtyard to the other, to behind the bars, to on top of the cement benches, to at one point taking the elevator in the middle of the space up to the second floor where we lost sight of them for a moment. The performance, meant to engage the audience in sight, sound and movement, felt like a piece about escape; the dancers’ jerking movements gave the impression that they were almost trying to break out of their own skin.
What was most beautiful about the whole event, however, was not only the performances, but the interaction between the performers and their audience. I looked over the faces in the audience and everyone’s eyes were on the performers, completely captivated. The decision by both performance groups to use the space around their audience created an atmosphere in which we were all connected. Not only did everyone get to watch a fun and intricate performance, but they were encouraged to feel like they were a part of it all.
Thanks to Sean Deckert and Veronica Rascona for the use of their photographs.
55: Music and Dance in Concrete premiered at Fort Worden as part of Centrum’s Reverberations series, in addition to premiering at the ASU Art Museum. The project received initial funding from the MAP Fund and the Doris Duke Charitable Foundation, as well as support from Arizona State University, and RBMA. The project is supported by the Japan Foundation through the PerformingArtsJAPAN program. The Centrum Artist Residency program is made possible by support from the Washington State Arts Commission and the Washington State Parks and Recreation Commission. Additional support was provided by 4Culture Site Specific.
Miguel Palma’s Trajectory is supported in part by the FUNd at ASU Art Museum, the ASU Art Museum Advisory Board and Friends and Margarita and Willie Joffroy.
The ASU Art Museum’s Season Opening is this weekend — Friday and Saturday night, from 6:30-9 p.m. — at both the Museum and the Ceramics Research Center.
The events are free and open to the public, and there’s something for everyone, from the premiere of a video/dance piece in the Nymphaeum to a parkour team using the building as their canvas to food trucks in the parking lot.
The parkour group Movement Connections will perform from 6:30-7:30 p.m. Then, at 7:30 p.m., composer/musician Wayne Horvitz will premiere 55: Music and Dance in Concrete, his collaboration with choreographer/dancer Yukio Suzuki and video artist Yohei Saito.
You can get a taste of 55: Music and Dance in Concrete here: http://www.youtube.com/watch?feature=player_embedded&v=3x6OPYI6ZE4
Below are some shots by photographer Sean Deckert of Movement Connections in action, plus some photographs (also by Sean Deckert) from ISEA2012, in Albuquerque, where artist Miguel Palma presented his “Desert Initiative Remote Shuttle,” which will be on display at the opening as part of Palma’s show Trajectory.
Join us on Friday and/or Saturday night for the big show! So nice, you might just want to come by twice.