{"id":7109,"date":"2014-06-26T09:46:00","date_gmt":"2014-06-26T09:46:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=7109"},"modified":"2022-12-15T10:22:10","modified_gmt":"2022-12-15T10:22:10","slug":"horizon-and-distance-landseasky","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hans\/horizon-and-distance-landseasky\/","title":{"rendered":"Horizon and Distance: Landseasky"},"content":{"rendered":"\n

LANDSEASKY: Revisiting Spatiality in Video Art<\/strong><\/a><\/p>\n\n\n\n

Thematic exhibition with, Paul Bai (Australia), Lauren Brincat (Australia), Jan Dibbets (The Netherlands), Barbara Campbell (Australia), Wang Gongxin (China), Shilpa Gupta (India), Yeondoo Jung (South Korea), Derek Kreckler (Australia), Giovanni Ozzola (Italy), Jo\u00e3o Vasco Paiva (Portugal\/Hong Kong), Wang Peng (China), Kimsooja (South Korea), Craig Walsh (Australia), Sim Cheol Woong (South Korea), Heimo Zobernig (Austria), Yang Zhenzhong (China), Zhu Jia (China). Curated by Kim Machan.<\/p>\n\n\n\n

OCAT Contemporary Art Terminal<\/strong><\/a> (1016 North Suzhou Road, Shanghai) April 20\u2013June 22, 2014<\/strong><\/p>\n\n\n\n

(Touring to MAAP SPACE, Griffith University Art Gallery, Brisbane, September 18th \u2013 November 23rd)<\/p>\n\n\n\n

\u201cLANDSEASKY: Revisiting Spatiality in Video Art\u201d purports to be about \u201cspatiality\u201d, but the choice of the works suggests that representing space is a means to a different end. A touring show initiated by Media Art Asia Pacific, LANDSEASKY presents a group of video works aligned by a deadpan approach.<\/p>\n\n\n\n

Despite the works having been drawn from across the globe and the fact that they encompass a grand sweep from the history of video art, almost all show a rigorous stoicism, as if their ideal audience were other video cameras recording all that happens with neither curiosity nor retort. About half contain all the elements of the exhibition\u2019s title, often by pointing the camera at the horizon. The period that is recorded may be quickened by formal interventions\u2014say, a door closes off the view, as in \u201cGarage \u2014some times you can see much more\u201d by Giovanni Ozzola (2009-11), or maybe the camera teeters while watching a buoy bobbing in the harbor, as in \u201cForced Empathy\u201d by Jo\u00e3o Vasco Paiva (2011). In these works, not much is happening, nor is there much to look at. It is a show of single events\u2014either a camera movement, or a formal intervention, but not both together.<\/p>\n\n\n\n

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Giovanni Ozzola, \u201cGarage\u2013sometimes you can see much more\u201d, single channel video projection, audio, variable dimension, 2009\u20132011 (courtesy of OCAT Shanghai)<\/figcaption><\/figure>\n\n\n\n
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Jo\u00e3o Vasco Paiva, \u201cForced Empathy\u201d, single channel video 7:29 looped, 2011 (courtesy of OCAT Shanghai)<\/figcaption><\/figure>\n\n\n\n

One work in the exhibition reminds one of the iconic mirage sequences from David Lean\u2019s motion picture, \u201cLawrence of Arabia\u201d (1962), where Lean employed a 482 mm lens fixed on the outlying shimmer of desert sands. At first there is distance, then a wavering pixel becomes an unknown rider approaching the camera. From the haze, the fixed camera awaits the figure for a long shot. In the exhibition, Lauren Brincat deploys an equivalent cinematic strategy in \u201cThis Time Tomorrow, Tempelhof\u201d (2011). Entering the frame at center bottom, the artist is filmed walking purposefully towards the far distance. But whereas Lean\u2019s scenario anticipates the introduction of a live character, we see only the back of a head. The figure rapidly becomes just a dark speck. Unmoving and fixed a little above head height, the camera is an impartial witness trained on the vanishing point. In common with many other works in the show, this locked viewpoint reminds the viewer, as the figure quickly recedes, that presence endures while identity is quickly lost.<\/p>\n\n\n\n

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Yet video cannot be conflated with film. In film, the length of the spool limited the duration of a continuous shot; video, however, made extended recording available. When artists started using video in the 1960s, this tied in with a desire to record uninterrupted experiences while drawing attention to the perceiving presence of the artist. Unlike the high costs of TV production or the self-contained narratives of motion pictures, video technology is relatively cheap; its lowering costs allowed artists in the 60s and 70s to intervene, to create a continuous document and to investigate the repetition of images stored on magnetic tape.<\/p>\n\n\n\n

Andy Warhol, for instance, seized the potential of duration in the motion picture, \u201cSleep\u201d (1964), using a natural cycle to determine the start and end of the film sequence. Over six hours the film \u201ctold it like it is\u201d in a pure mise-en-sc\u00e8ne<\/em>. However, Warhol\u2019s film was not what it seemed; he used loops and repeated stills to direct the appearance of simply turning the camera on and leaving it running. With video came the possibility of truly fixing time passing in a disinterested gaze.<\/p>\n\n\n\n

In OCAT, the generous high definition projections feel more like film than video. Some works show connections with the work of Michael Snow. In Snow\u2019s \u201cLa R\u00e9gion Centrale\u201d (1972, not in this exhibition), the camera is mounted on a pivoting device that performs a series of balletic movements. The results on screen slide from landscape to abstraction as the camera movements quicken to interfere with the capacity of the frame rate. Snow\u2019s practice in film resonates with the aspiration to stand back and let the image occur when the camera is turned on. Snow also pursued abstraction, assessing the inherent limits of the hardware and challenging the film camera\u2019s ability to produce a semblance of reality.<\/p>\n\n\n\n

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Jan Dibbets, \u201cHorizon I \u2013 Sea\u201d, 2 channel video projection, color, no sound 4\u201939\u201d\/ 4\u201939\u201d, 1971; \u201cHorizon II \u2013 Sea\u201d, 3 channel video projection, colour, no sound 0\u201920\u201d\/0\u201929\u201d\/0\u20197\u201d, 1971; \u201cHorizon III \u2013 Sea\u201d, 2 channel video projection, colour, no sound 3\u201925\u201d\/3\u201926\u201d, 1971 (images courtesy Stedelijk Museum)<\/figcaption><\/figure>\n\n\n\n
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Kimsooja, \u201cBottari \u2013 Alfa Beach Nigeria\u201d, single channel video 6:18 looped (no sound), 2001 (courtesy of OCAT Shanghai)<\/figcaption><\/figure>\n\n\n\n

Jan Dibetts\u2019 videos, \u201cHorizon I \u2013 III\u201d (1971)\u2014exhibited\u2014belong to this field of work. Pointing his lens away from the coast, Dibetts employs a suite of simple camera movements and tilted angles. The division of sea and sky glides across the frame suggesting geometric abstraction rather than a record of the place. In a contrary gesture, Kimsooja suggests the late abstract paintings of Mark Rothko in \u201cBottari \u2014Alfa Beach\u201d (2001). In this case, the equal division of sea and sky is turned upside down. The inverted image records the beach in Nigeria notorious as the place where new capture slaves began their journey away from Africa. The unflinching camera fixes the ineffable geometry of the two elements on a 378 second loop, releasing time to contemplate the presence of the void and the absence of humanity.<\/p>\n\n\n\n

Distance, signaled by the horizon that appears in several works, reminds us that we are in a gallery and that the landscape is a projection we cannot physically enter. Derek Kreckler reinforces this point in his \u201cUntitled\u201d (2013), a brooding ocean with a high horizon. In a theatrical gesture, the screen is cut into strips and occasionally sent flying chaotically by an oscillating fan, only to fall back into place to await another wave. The real wind produced by the fan reiterates the projection\u2019s artifice while enhancing its elemental subject. As the wind causes the screen to fly apart, the space behind is revealed.<\/p>\n\n\n\n

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Derek Kreckler, \u201cUntitled\u201d, single channel video installation, paper strip screen, electric fan, 2014 (courtesy of OCAT Shanghai)<\/figcaption><\/figure>\n\n\n\n
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Dereck Krekler, \u201cLittoral\u201d, installation view dimensions variable, 2014, photo: Andrew Stooke<\/figcaption><\/figure>\n\n\n\n

Another kind of horizon is found in Shilpa Gupta\u2019s affecting work \u201c100 Hand Drawn Maps of India\u201d (2007), a series of people\u2019s best guesses at the shape of India, cross-fading in quick succession on a flat screen. At first, this might appear to produce a more humane work. The participants in Gupta\u2019s project record a place between their metaphorical homeland and the actual territory they draw. Rather than suggesting the aspiration and personal belief that is nationhood, the work rehearses a model that could be replayed endlessly. Arguably, the potency of these hand-drawn borders has already been exhausted through circulation\u23afnot only in interminable frontier disputes, but also through the signification of maps in art as metaphors of ownership and classification, from Johannes Vermeer to Chinese agitators Ai Weiwei and Xu Zhen.<\/p>\n\n\n\n

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Shilpa Gupta, \u201c100 Hand drawn Maps of India\u201d, single channel vidoe projection, table, 3:42 video loop, 2007\u20132008 (courtesy of OCAT Shanghai)<\/figcaption><\/figure>\n\n\n\n
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Yeondoo Jung, \u201cOn the Dividing Line between Body & Soul\u201d, from the project \u201cHandmade Memories\u201d, dual channel HD video on wall-mounted displays, 9:16, 2008 (courtesy of OCAT Shanghai)<\/figcaption><\/figure>\n\n\n\n

In most of the exhibition, digital video is used both to document and to generate live situations. In Yeondoo Jung\u2019s twin channel \u201cHandmade Memories\u2014 On the Dividing Line Between Body and Soul\u201d (2008), however, the truth of what is witnessed is questioned. It shows a first person account of an encounter on a train journey juxtaposed with the illusion of a gently-drifting movement down railway lines. The ride proceeds from the false reality of a theatrical set to a projection, itself receding on dolly rails into the back of the stage. In the narrative, the speaker claims that experiences on the journey helped him understand a book, \u201cOn the Dividing Line Between Body and Soul\u201d. The relationship between the fictions played out across the two screens appears unfathomable. Despite being shown the mechanics of the effect, the spatial illusion of proceeding down the railway tracks is believable\u2014convincing, at least, from the perspective of the camera. It is the only work to specify the unreliability of what is seen in front of the camera.<\/p>\n\n\n\n

Again linked with the idea of truth, Wang Peng\u2019s \u201cFeeling North Korea\u201d (2012) includes recordings from a hidden camera made on a trip to Pyongyang, but half of the screen is black. Suggesting the half-truth of a covert state, the blank part of the screen also evokes the pre-state of formatted recording media: a void zone of potential. In this blackness lies the capacity of the hardware to probe. It suggests that video is not a neutral mechanism, but one predisposed to curiosity and always ready to report (and replay).<\/p>\n\n\n\n

Horizontal dark bands remove parts of the image in an interactive display, Campbell\u2019s \u201cclose, close\u201d (2014), which shows footage of birds in stages of a migratory journey. . The advance and retreat of the viewer affects what is seen and what is covered. t. Unlike other works, the projection thus requires a spectator; yet here, in this blacked-out space, witnessing the birds\u2019 innate will to migrate, one realizes that for many of these projections, humanity is simply redundant, and that human life itself is merely a momentary incident in the endless capacity of video to record.<\/p>\n\n\n\n

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Wang Gongxin, \u201cThe Other Rule in Ping Pong\u201d, 3-channel synchronized video installation, single channel sound, 2014 (courtesy of OCAT Shanghai)<\/figcaption><\/figure>\n\n\n\n

On a different note, Wang Gongxin\u2019s \u201cThe Other Rule in Ping Pong\u201d (2014) brings a little humor to the exhibition. The three parts of the work interact with a haphazard time signature. One screen shows a mouth spitting a ping-pong ball into space. A second screen, orientated horizontally, records the balls ricocheting on a table tennis table. The third screen documents absurd attempts to return the ball with inappropriate equipment. Wang plays effortlessly with the audience interface. The angled arrangement of the screens does not apply the logical symmetry necessary for the game to be played. Although the work produces a 3D sensation between the video images, it is an unpredictable ball to dodge in the spectator\u2019s space. This is the most nuanced work in the exhibition in terms of its disclosure of the possibilities of using video to discuss space; Wang\u2019s work brings athleticism to the theme.. The work makes it particularly clear that elsewhere it is the effect of automatic production that is important. From an activist perspective land, sea and sky are always in the making.<\/p>\n\n\n\n

In sum, if \u201cLANDSEASKY\u201d is an exhibition about space, it is about how space is experienced in places being modified by a video environment; space receding from place, its content and coherence becoming more and more disconnected from perception. These videos are documents without empathy or responsibility; with vanishing points, but without the implied human presence of constructed perspective.<\/p>\n\n\n\n

Jorge Luis Borges in \u201cThe Analytical Language of John Wilkins\u201d makes fiction out of an encyclopedia, the \u201cCelestial Empire of Benevolent Knowledge\u201d. The category of animals is divided into fourteen types, the final class being, \u2018that which from a long way off look like flies\u2019. Borges identifies the vulnerability that the distance bestows, the need to look again and to seek the character of the subject. Representing space in \u201cLANDSEASKY\u201d demonstrates that an objective view is rarely a truly neutral view. For the artist, space signifies a responsibility to memorialize, as well as to represent.<\/p>\n\n\n\n

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Heimo Zobernig, \u201cNr. 23\u2033, video, color, sound, 9\u201926\u201d loop, video projection, projection screens, dimensions variable, 2005 (courtesy of OCAT Shanghai)<\/figcaption><\/figure>\n\n\n\n
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Zhu Jia, \u201cBeyond My Control\u201d, 2 channel video projection, color, loop, dimensions variable, 2014 (courtesy of OCAT Shanghai)<\/figcaption><\/figure>\n\n\n\n
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Sim Chol Woong, \u201cAn|other River\u201d, 3 channel video installation, audio, 2011 (courtesy of OCAT Shanghai)<\/figcaption><\/figure>\n\n\n\n
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Craig Walsh, \u201cStanding stone site\u201d, single-channel digital animation 10\u201900\u201d looping, 2012 (courtesy of OCAT Shanghai)<\/figcaption><\/figure>\n\n\n\n
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Yang Zhenzhong, \u201cPassages\u201d, single channel video, color, 2012 (courtsy of OCAT Shanghai)<\/figcaption><\/figure>\n\n\n\n
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LANDSEASKY: Revisiting Spatiality in Vid … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":8,"featured_media":7208,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[3254,3255,3257,3256,3258,2474,3259,3260,3261,3262,3263,3264,3266,3265,3267,3268,3270,3269,3272,3271,3273,3274,3275,3276],"yoast_head":"\nHorizon and Distance: Landseasky - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/horizon-and-distance-landseasky\/\" \/>\n<meta property=\"og:locale\" content=\"zh_CN\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Horizon and Distance: Landseasky - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"LANDSEASKY: Revisiting Spatiality in Vid … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/horizon-and-distance-landseasky\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2014-06-26T09:46:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-12-15T10:22:10+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/horizon-and-distance.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"1140\" \/>\n\t<meta property=\"og:image:height\" content=\"641\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Duyen Le\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"\u4f5c\u8005\" \/>\n\t<meta name=\"twitter:data1\" content=\"Duyen Le\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9884\u8ba1\u9605\u8bfb\u65f6\u95f4\" \/>\n\t<meta name=\"twitter:data2\" content=\"14\u5206\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/horizon-and-distance-landseasky\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/horizon-and-distance-landseasky\/\"},\"author\":{\"name\":\"Duyen Le\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/4d95ceea857b4c4fde91b6437bfaee13\"},\"headline\":\"Horizon and Distance: Landseasky\",\"datePublished\":\"2014-06-26T09:46:00+00:00\",\"dateModified\":\"2022-12-15T10:22:10+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/horizon-and-distance-landseasky\/\"},\"wordCount\":2089,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"Andrew Stooke\",\"Barbara Campbell (Australia)\",\"Craig Walsh (Australia)\",\"Derek Kreckler (Australia)\",\"Giovanni Ozzola (Italy)\",\"Heimo Zobernig (Austria)\",\"Jan Dibbets (The Netherlands)\",\"Jo\u00e3o Vasco Paiva (Portugal\/Hong Kong)\",\"Kim Machan\",\"Kimsooja (South Korea)\",\"Landseasky\",\"LANDSEASKY: Revisiting Spatiality in Video Art\",\"Lauren Brincat (Australia)\",\"MAAP SPACE\",\"Media Art Asia Pacific\",\"OCAT Contemporary Art Terminal\",\"Paul Bai (Australia)\",\"Shilpa Gupta (India)\",\"Sim Cheol Woong (South Korea)\",\"Wang Gongxin (China)\",\"Wang Peng (China)\",\"Yang Zhenzhong (China)\",\"Yeondoo Jung (South Korea)\",\"Zhu Jia (China)\"],\"articleSection\":[\"Reviews\"],\"inLanguage\":\"zh-CN\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/horizon-and-distance-landseasky\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/horizon-and-distance-landseasky\/\",\"url\":\"http:\/\/www.randian.art\/horizon-and-distance-landseasky\/\",\"name\":\"Horizon and Distance: Landseasky - 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