{"id":15568,"date":"2014-10-28T19:31:00","date_gmt":"2014-10-28T19:31:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=15568"},"modified":"2023-10-29T19:35:15","modified_gmt":"2023-10-29T19:35:15","slug":"fields-unified-and-fragmented","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/fields-unified-and-fragmented\/","title":{"rendered":"Fields Unified and Fragmented"},"content":{"rendered":"\n<p><a href=\"https:\/\/www.randian-online.com\/np_event\/theatrical-fields\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>\u201cTheatrical Fields<\/strong><\/a>\u201d<\/p>\n\n\n\n<p><a href=\"https:\/\/www.randian-online.com\/np_space\/the-centre-for-contemporary-art-cca-singapore\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Centre for Contemporary Art Singapore<\/strong>&nbsp;<\/a>(43 Malan Road, Singapore),&nbsp;<strong>Aug 22\u2013Nov 2, 2014<\/strong><\/p>\n\n\n\n<p>At times reveling in cinematic grandiloquence, or outright rejecting it, or embedded within disparate installations and performances, video-based art is very much a part of the chimeric nature of contemporary art\u2014a field in which easy definitions seem like a fool\u2019s errand. What might assist us in orientating ourselves in such a diverse field, however, is to view it through an intertwining of theory and theatricality; as the Centre for Contemporary Art\u2019s director Ute Meta Bauer notes in her introduction to the CCA\u2019s latest show, \u201cTheatrical Fields\u201d, both emerge from the same root word: \u201c<em>thea<\/em>\u201d which means \u201cto see.\u201d<\/p>\n\n\n\n<p>Bringing six seminal video installations to Southeast Asia for the first time, \u201cTheatrical Fields\u201d is, as the title suggests, devoted to the notion of theatricality\u2014though in a sense that extends far beyond the trappings and traditions of the stage. In this aim, the show takes a somewhat broader view, encompassing, for instance, the rituals and conventions that define our everyday experiences, and using theatrical elements such as \u201cscript\u201d and \u201cvoice\u201d as points of departure to examine the world around us\u2014an approach somehow reminiscent of the use of toy models in theoretical physics, abstracted or simplified systems used by physicists to investigate physical phenomena. Theatricality, then, is not confined to aesthetic concerns, but is instead employed for a general project of translating linearity and simple solidity to ambiguity, nuance and diversity.<\/p>\n\n\n\n<p>Exemplifying this tendency towards complexity is Constanze Ruhm\u2019s \u201cX Characters: RE(hers)AL\u201d<em>&nbsp;<\/em>(2004) in which seven female characters from iconic films find themselves mired in one of the contemporary world\u2019s many forms of limbo\u2014an airport\u2019s boarding area. Though the audience\u2019s experience of the video is framed by vivid posters detailing each of the work\u2019s characters, the characters find themselves adrift, cut loose from their familiar narrative settings\u2014theatrical reagents poured into a reactor and left to cook, successively generating unlooked-for interactions.<\/p>\n\n\n\n<p>Stan Douglas\u2019 \u201cSuspiria\u201d (2003), on the other hand, takes a more technical approach in generating ambiguity and diversity in a manner that both extends and confounds our narrative expectations. Although it seems at first to be a strangely shot (backdrops of dun-colored stonework overlaid with snatches of narrative scenes in lurid technicolor), fantastical tale in the tradition of the Brothers Grimm, as the loosely connected scenes proceed with no clear end in sight, it\u2019s clear that there\u2019s more to it. The sequence of scenes, rather than conforming to some theatrical narrative convention, is instead randomly generated by software. This generative randomness, at once refreshing and indifferent, allows \u201cSuspiria\u201d to grind away into infinity with little chance of the audience re-encountering the same sequences, perhaps presaging the limitless plenitude of the then yet-to-be founded YouTube.<\/p>\n\n\n\n<p>This disavowal of simple linearity also finds expression in the overall experience of the show itself, with each work being more or less compartmentalized from the others. It is for the practical purpose of preventing the sights and sounds of each work from spilling over too much, of course, but in practice one experiences the exhibition by composing a path through and into each work\u2019s space, seeing one work after another, as with Judith Barry\u2019s \u201cVoice off\u201d (1999), which cannot be experienced in whole from a single position.<\/p>\n\n\n\n<p>Even discounting the infinite duration in \u201cSuspiria\u201d, the show as a whole clocks an overall run time of over three hours, a figure that hints at a sheer mass of informational and sensory fatigue. It is a daunting prospect for all but the most ardent fans of video art, especially if one takes the view that one should start watching as the work begins, and hold fast for its entire duration\u2014a demand on patience and attention that seems almost imperious, perhaps leaving viewers coolly unmoved as they skip from one fragment to the next. Then again, such an approach could instead be thought of as a fragmentary mode of encounter as one passes through successive intermissions\/cross-fades of relative darkness and silence, generating thoughts and reactions as one charts a physical and temporal course through \u201cTheatrical Fields.\u201d<\/p>\n\n\n\n<figure class=\"wp-block-image\"><a href=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/10\/CCA_TF_Constanze-Ruhm_02.jpg\"><img decoding=\"async\" src=\"https:\/\/www.randian-online.com\/wp-content\/uploads\/2014\/10\/CCA_TF_Constanze-Ruhm_02.jpg\" alt=\"\" class=\"wp-image-50652\" title=\"CCA_TF_Constanze Ruhm_02\" \/><\/a><figcaption class=\"wp-element-caption\">Constanze Ruhm, \u201cX Characters\u201d, single-channel film projection, color, sound (Digibeta 2004), 74 min., looped, 2004 (image courtesy of CCA Singapore)<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-483.png\" alt=\"\" class=\"wp-image-15569\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-483-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-483-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-483-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-483.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Stan Douglas, \u201cSuspiria\u201d, installation, single-channel video projection, stereo sound, 2003 (stories recomposed and music remixed in virtually infinite variations, image courtesy of CCA Singapore)<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-484.png\" alt=\"\" class=\"wp-image-15572\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-484-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-484-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-484-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-484.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Judith Barry, \u201cVoice off\u201d, installation, two-channel video projection, color, sound, 15 min., looped, 1999 (image courtesy of CCA Singapore)<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-485.png\" alt=\"\" class=\"wp-image-15575\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-485-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-485-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-485-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-485.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Joan Jonas, \u201cLines in the Sand\u201d, multi-media installation: 3 video elements, looped, sound, various props, 2002 (image courtesy of CCA Singapore)<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-486.png\" alt=\"\" class=\"wp-image-15578\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-486-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-486-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-486-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-486.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Eva Meyer and Eran Schaerf, \u201cShe Might Belong to You\u201d, single channel film, color, sound, 37 min (Sound: Peter Steckroth), in German with English subtitles, 2007 (image courtesy of CCA Singapore)<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"660\" height=\"440\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-487.png\" alt=\"\" class=\"wp-image-15581\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-487-300x200.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-487-150x100.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-487-450x300.png 450w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-487.png 660w\" sizes=\"(max-width: 660px) 100vw, 660px\" \/><figcaption class=\"wp-element-caption\">Isaac Julien, \u201cVagabondia\u201d, installation, two screen projection, 16mm film, digital transfer, color, sound, 7 min., looped, 2000 (Choreography by Javier De Frutos, image courtesy of CCA Singapore)<\/figcaption><\/figure>\n\n\n\n<figure class=\"wp-block-image size-full\"><img decoding=\"async\" loading=\"lazy\" width=\"528\" height=\"68\" src=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-488.png\" alt=\"\" class=\"wp-image-15584\" srcset=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-488-300x39.png 300w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-488-150x19.png 150w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-488-500x64.png 500w, https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2023\/10\/zh-hant\/image-488.png 528w\" sizes=\"(max-width: 528px) 100vw, 528px\" \/><\/figure>\n","protected":false},"excerpt":{"rendered":"<p>\u201cTheatrical Fields\u201d Centre for Contempor &hellip; <a href=\"http:\/\/www.randian.art\/zh-hant\/fields-unified-and-fragmented\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":7,"featured_media":15587,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[20],"tags":[10654,10653,10655,3356,3703,10656],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v20.8 - 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