Video installation and the poetics of time

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Video installation and the poetics of time : Eleanor Heartney

Outer and Inner Space catalogue
이 글은 비디오 인스톨레이션에 대해서 집중적으로 다루고 있다.
초기 비디오 작업-주로 single channel-과 현재의 비디오 인스톨레이션이 어떻게 다른지.

예전에 베르그송이 이야기하던 time의 개념과 지금은 다르다.
the 21 century, we are once again piorneering new perceptions of time and space. Time has begun to be experienced elastic, in which the relationship between past, present, and future becomes open to human intervention. Similarly, space is no longer a static filed that we traverse over time, but has become a medum to be dismantled and reassembled at will.
p.14.

CHANGING THE NOTION OF TIME AND SPACE
구조적으로 초기의 비디오 작업은 포퓰리즘 적인 면이 있다. 접근성이 쉬워지면서 populist tool. relatively inexpensive to create.
While early video art tended to consist of singhe-channel tapes presented on television monitors, the filed has expanded.
These may incorporate large-sreen projections, walls of monitors with multiple computer-coordinated channels, theatrical environmental settings, and recently even the latest interactive technology.
이제는 almost everything is possible.

Much earlier video still retained something of the classical Western division between subject and object-locating the viewer as an outsider peering, as through a window, into another world. Video installation, by contrast, places the viewer’s consciousness and body in the middle of the artwork. Even if it is not directly interactive, video installation implies a far more active role for the viewer.
비디오 인스톨은 태생적으로 관객을 적극적으로 끌어들인다. 공간 개념이 강해진다. 싱글채널과 닫를 수 밖에 없다.

Video installation’s interactive nature
Cinema : viewers figuratively lose themselves in the film. Video installation, conversely, tends to interrupt any such identification. Multiple screens and discontinuous images bring viewers back to themselves by requiring them, not the video’s creator, to make decisions about where to look and how to assimilate disconnected information.
p.15.

early example of interaction 은 Sam taylor Wood 작업에서 찾을 수 있다.
1995 “Travesty of a Mockery” : The viewer begins to feel somehow responsible, through the act of voyeurism.
카메라가 관객을 향한 시점이다. confrontational.
Gary Hill “Tall ships” (1993)에서도 나타난다.
Physical and psychological involvement of the viewer.
Video installation is an extension and amplification of the notion of theatricality first invoked in Michael Fried’s famous 1967 essay “Art and Objecthood”.
마이클 프리드는 미니멀리즘 조각 작품을 비판하기 위해서 연극성 이야기를 했다. 미니멀 조각들이 그 주변 환경을 필수적으로 요구한다는 점에 있어서 그것을 ‘연극적’이라고 보았으며, 이는 순수성을 저해하는 요소라고 해석했다. 비슷한 시기에 처음으로 등장한 비디오 아트 또한 태생적으로 ‘연극성’을 지닌다.

Fried was actually writing from a Modernist position to criticize what he viewed as Minimalism’s unhealthy dependence on its environment and on the location pf the viewer in the surrounding space. Unlike Mordernist sculpture, which was supposed to be compete in itself, he noted disapprovingly that a Minimalist object only made sense when the viewer moved around or through it.
Video art, which was born in the same decede as Minimalism, share this “theatricality”. In fact, video goes further, becuase it is nothing in itself, just a flash of light on the retina that leaves no trace when it is not activated. It exists only in the time and space that momentarily bring it to life. There is no physical object independent of our experience of it.

Today video installation seems to have moved toward a position that embraces the museum or gallery as its ideal environment and appears to be less concerned with machines or technology in themselves.
p.16.

CHANGING THE NOTION OF TRUTH
도대체 초기 비디오와 현재 비디오 설치 작업을 구분하는 특성이 그럼 뭔가?

Film lies, video tells the truth.
초기 비디오 작업은 against film이었다. video film : film에 도전, 저항.
현재 비디오 설치는 video + film이다 : film 형식 차용, 흡수, 모방.

The role of early video art was to break down the rhetorical devices of the commercial media so as to expose their manipulations and mendacity. Early video artists often trained the cameras on themselves. Vito Acconci.
Notions of truth and critique, along with the functionalist aesthetic of early video, seem far less important to practitioners today. Today video art, and especially video installation, is more likely to borrow from MTV and Hollywood special effects, to immerse viewers.

백남준 같은 작가들도 기존의 TV에 대한 저항, 도전으로서 TV monitor썼다.
such trajectories suggest that, in a world in which nothing seems more staged than Reality TV, questions of unvarnished truth and purity seem less relevant today than they did thirty years ago.
The generation of video installation artists represented in this exhibition and book are more concerned with social, psychological, and spiritual issues that with the medium itself or the commercial forms from which it distinguishes itself.

CHANGING THE NOTION OF VIEWERSHIP
Shirin Neschat “Rapture”와 Pipilotti Rist의 작업에서 예를 찾는다.
Multi-sensory environment that is intended to wrap around the viewer and make him or her, in some way, part of the action.
p.18.

The viewer of the work is literally, as well as intellectually, caught in the middle of this male/female Islamic dialogue.
Sip My Ocean ..

CHANGING NOTIONS OF REALITY
TO ALTER viewer’s sense of time and space in order to persuade us to take up residence in an alternate universe. 따라서 이러한 몰입적 환경을 조성해 주는 museum을 다시 반기기 시작한다. 초기의 비디오는 그렇지 않았다. This may explain why the museum setting, so often disdained by early video artists, has now become their location of choice.
The sense of removal makes the work of many video installation artist today. .. manipulation of time.. etc.
The tendency in recent video installation to withdraw form reality is also enhanced by the use of devices that heighten our sense of physical and pshchological involvement. -이 예로 Tony Oursler.
P.20.

For all the deliberate artifice and invocation of theatricality, there in another way that video installation remains grounded in a recognizable reality.
작가는 여기서 디지털 아트와 비디오를 명확히 구분하면서. 비디오는 real하다고 이야기 한다. 그것이 실제의 공간과 실제의 빛을 사용하기 때문이라고 한다. I dont think the light is real. 그렇다면 디지털 비디오는 뭐냐? 디지털 프로젝터는?
As Bill Viola has pointed out, video art still depends on real light passing into a real space. In this it differs from digital art, which is composed of binary codes and exists, if anywhere in a dematerialized zone known as cyberspace. 이건 1998년의 이야기이다. 이미 너무 오래전.
p.21.

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