Screens: viewing media installation art – Kate Mondloch

 Screens: viewing media installation art – Kate Mondloch

대부분이 1960-70년대에서부터 최근이라고 해 봐야 90년대에 비디오 설치 작업들에 머무르고 있긴 한데, 그 중에 몇 지점들은 활용 가능하다. 저자는 screen-reliant installation이라는 용어를 채택한다. 

Introduction

screens are increasingly ubiquitous in art institutions worldwie. From histrotical survey shows dedicated to the seminal projected image works created in the 1960s and 1970s, such as Chrissie Iles’s Into the Light ….(6)

Pervasive mode of contemporary artistic production: what I call screen-reliant installation art. (7)

It is pivotal to recognize that the contemporary relationship to  much visual production is indeed arbitrated by screen. (11)

Chapter 1 : Interface Matters

I used the term “screen-reliant” as opposed to “screen-based” to signal that a screen is a performative category. It can function as a screen and thus as a connective interface to another space. … when deployed in spatialized sculptural configurations, resists facile categorization. (4)

Although the screen is a notoriously slippery and ambivalent object, one that seems to outrun its shadow of materiality at every turn, its physical form shapes both its immediate space and its relationship to viewing subject. In environmental media artworks, the screen object and the viewer’s actice, bodily experience with it can achieve a new centrality: the interface “matters” for media installation art. It matters in the sense that it constitutes and essential component of the artworks but also because the body-screen interface is a phenomenal form in itself as well as a constitutive part of an embodied visual field. (4)

media screen’s time- and space-shifting effects (4)

Chapter 3: Installing Time

The open-ended mode of engagement. (41)

Reviewing the film and video installation at the notoriously media centric 1999 Venice Biennale, art critic and historian Michael Archer offers this sobering observation: “What this mode of presentation has built into ti is the inevitability that the work will not be witnessed for very long. All that seems to happen is that you wait a couple of minutes until your feet start to ache from standing still, and then push off again.” While the experience of viewing time-based media in large-scale international exhibitions diverges in many ways from appreciating the same pieces in a museum or gallery, both settings tend to support spectator-determined time frame. (55)

Rosalind Krauss’s seminal essay “The Cultural Logic o the Late Capitalist Museum”(1990) offers a partial accoutn. Krauss theorizes how minimalism’s originally critical phenomenological project already contained the potential to shift towrad what she considers to be the contemporary condition of “degraded” participation that characterizes the subject’s experiences within the late capitalist museum (Reductionism이기는 하다) (56)

Chapter 4: Be Here and Now

The screen is a component piece of architecture, rendering a wall permeable to ventilation in new ways: a “virtual window” that changes the materiality of built space, adding new apertures that dramatically alter our conception of space and of time. (Anne Friedberd, the virtual window)

complex spatial dynamics.

아주 간략하게 요약함.

Anne Michelson and Rosalind Krauss were among the first to introduce the phenomenological and anti-illusionist interpretation of postminimalist media art within  a North American context… In the European context, an especially influential political aesthetic developed with the critical discourse surrounding structural-materialist film… This self-reflexive operation was assumed to inevitably produce active, empowered spectators categorically distinct from the passive viewers associated with illusionist cinema.(61)

This model of spectatorship proposes that viewers be both ‘here'(embodied subjects in the material exhibition space) and ‘there'(observers looking onto screen spaces) in the here and now. This new double spatial dynamic, staged as a bodily encounter in real time, radically reinterprets the conventional ways that technological screen inteerfaces have been described and experienced. (62)

Interface 작업을 설명하는 부분.

This discrepancy generates an unexpected, and therefore dramatic, effect: … it assumes a primary importance as interfaces’ spectators struggle to regain their sense of embodied self (74) 반대로 disembody되는 경험을 ㅗㅌㅇ해서 관람자 자신의 embodied self를 깨닫는다. 

for certain media art configurations to productively destabilize our conventional relation to screen space. .. They also provide, like the other projected and moving-image installations assessed thus far, provocative models for thinking about contemporary screen-mediated subjectivity.Both works offer potentially disorienting temporal and physical displacements, yet in both, the viewing experience is effectively rendered in an embodied present- by the viewer’s erratic optical and physical engagement with the prerecorded footage. .. By foregrounding an active relationship between the spectator, media objects, exhibition space, and screen spaces, there media art installations generates a self-conscious and troubled spectatorship explicitly contingent upon the articulated tension between actual and virtual times and spaces. We are simultaneously both here and there, both now and then. (75-76)

These works place the viewer participant into an embodied circuit with a range of screen-reliant spatial and temporal realms and this catalyze an awakening of their audiences to the materiality of the interface and the mediation inherent in vision and communication structured by screens. (94)

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