(noun) nonchalant absurdity with a dash of embarrassment.

(verb) to be shark bitten.

(adverb) in a manner that is nonchalantly absurd and embarrassing.


12 March 2013

Moving Image Art Fair

For the past two years, Moving Image Art Fair has won me over, making it, again, one of my favorites. A smaller audience than the heavily trafficked fairs, the Tunnel Space allows room to breathe when trying to take in as much art as possible in a short weekend's time. When you first enter the Tunnel Space you are greeted with a projection on the ground, which, naturally, includes the fair's logo, its sponsors, and the subtle reminder that you are here to enjoy video art.


Beyond the projection the viewer is met by the squawking sounds of vultures devouring the food on a beautifully set table in the middle of nowhere. The London-based Greta Alfaro's In Praise of the Beast (see different version here) is presented in collaboration with Spain Culture New York.




Ted Victoria showcases two artist-made projection installations in the fair. In Is Anyone Home? live Sea-Monkey and Instant Ocean (saline solution) give the illusion that the structure is filled with water and some sort of fish. However, you walk towards the back and realize it is actually a "translucent, roughly 8 foot high greenhouse structure lit from within and [only] appearing to be filled with some kind of large swimming creatures." The creatures we see are actually brine shrimp kept in several small aquariums inside the structure. "Rear-screen projectors project images of the tiny, prehistoric looking creatures onto the inner surfaces of the structure's walls."


In Bottoms Up Victoria "uses projection to highlight and change the simplest of objects and actions, but this time beyond the contents of contained space. Instead, with the combination of a simple lens, flood bulb and water pump, a single shot vodka bottle is projected and magnified on a screen," one that faces the audience as they make their way down the tunnel. It is not until you see the back end of the project, that you realize how fascinating this contraption is. Together, Is Anyone Home? and Bottoms Up are quite the show stoppers and Instagram worthy pieces in the fair.


Holistically, the six individual media sculptures with LCD screens/video, which make up Twenty One Twelve, is exhibited as a sculpture in the round. The pioneering new media duo, Jennifer and Kevin McCoy,  "explore both time-based and physical reality" in their work, and are "perhaps best recognized for constructing subjective databases of film and television material and for creating miniature film sets with live camera." Twenty One Twelve integrates both sculpture and video, like the other large video installations in the fair.


Mihai Grecu's Coagulate "breaks the physical laws of nature, allowing his protagonist, water, to run through timeless choreography" and makes for striking and crisp stills, as does the work of Malak Helmy: Records from the Excited State, Chapter 3: Lost Referents of Some Attraction.

Mihai Grecu
Malak Helmy

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