Video installation art : The body, the image, and the space-in-between – Margaret Morse (1990)
이 글은 1990년대 당시 비디오 설치 작업이 아주 new media 였을 때 쓰인 글이다. 작가는 Plane of presentaion of now and here / representation의 대조를 비디오 설치 작업 분석에 사용한다. 그리고 Minimalism과 또한 연결고리 찾고 있다. 이것은 kinesthetic art로서 cinema, painting, photography같은 proscenium art와는 다르다고 주장.
The process of installing suggest a temporary occupation of spcae. .. Thus, installation implies a kind of art that is ephemeral. .. 이것과 반대로 object-based art에 대해서 이야기한다. An object becomes displaceable and freely exchangeable, that is , commodifiable. .. Installation: its crucial element is ultimately missing from any such two-dimensional construction, that is “the space-in-between,” or the actual construction of a passage for bodies or figures in space and time. (p.154.)
This allows the visitor rather than artisti to perfomr the peice. Indeed, she or he is in the piece as its experiential subject. Thus, the installation is not a proscenium art. It is not hard to see the relation of installation to other acticommodity art forms that emerged in the 1960s, such as conceptual art, performance, body art, earth works, and expanded forms of sculpture. 역시 art history context에서 파악한다. (p.155.)
In the proscenium art, the spectator is carefully divided from the field to be contemplated. The machinerythat creates the vision of another world is largely hidden, allowing the immobilized spectator to sink into an impression of its reality with horror or delight. .. The visitor to the installation, on the other hand, is surrounded by a spatial here and now, enclosed within a construction that is grounded in actual space. .. Video installation can be seen as part of a lerger shift in art forms toward liveness that began in earnest in the 19660s, in a filed that included happenings, performace, conceptual art, body art, earth workds, and the larger category of installation art. (156.)
Art on the plane of presentation — art as represenation사이의 대조를 사용해서 비디오 아트를 분석한다.
Representation invokes thiings apart from us. .. In photography and cinema, the seperation became absolute temporal adn physical separation. Cinemra spectators immobilized in darkness were like prisoners. .. Photographs and paintings are what is in frame. .. Attention to this other plane, the here and now of productioni and reception beyond the frame, became a rich object of theoretical investigation and a critique of representation in philosophy and in cultural and film studies i the 1960s. (157)
The art of presentation and video installation are the priviledged art forms for setting this mediated/built environment into play for purposes of reflection. While the new arts of presentation have been conceptualized as “theatrical”, it is important to note the massive difference between the two. A traditional theater, in which the audience receives the events on stage as happening safe in an elsewhere, and a theatre in which events happen on the same plane of here and now as the audience inhabits.
Even sculptural objects could participate in this plane of presentations in a here and a now: Minimalist sculture in the 1960s. 역시 미니멀리즘 조각과 연결한다. …that confronted the viewer in his or her own space. implicated the physical space around the object and the play of light in it. The minimal object also requried a subject capable of realizing the work, reponding to the changing light and positions of a here and now, so that each time a work is perceived it is a different one. (158.)
In a larger sense, all installation art is interactive, since the visitor chooses a trajectory among all the possibiltieis. This trajectory is a variable narrative simultaneously embodied and constructed at the level of presentation. (161.)
The interiority of such exteriorizd images becomes most obvious, leats anchored in materialaity in video projection. … The spectator thus enters a charged space-in-between, taking on an itinerary, a role in a set in which images move through different ontological levels with each shift in dimension, in a kinesthetic art, a body art, an image art that is rather than an embodied conceptual art. (163.)
It exploits the capacities of the body itself and its senses to grasp the world visually, aurally, and kinesthetically. (165.)