Sunday, May 16, 2010
Marina Abramovic
Marina Abramović’s exhibition at the MOMA, Marina Abramović: The Artist is Present, was fantastic. Her central piece that she was performing at the time fallowed along with her theme of voyeurism, endurance, and time. The piece involved her sitting in a chair in the middle of a room at a desk with another chair across the table in which people were expected and invited to come sit at as everyone else in the museum watched around. This piece was surrounded by cameras and live webcams so that at anytime anywhere in the world people could see what was happening. The rest of the exhibit was just as fantastic combining videos of original performances with live reenactments of them along with other works of hers mostly video pieces.
One video in the exhibit seemed to utilize the way in which a video camera only gives you a small window to watch the action with. In this video a woman and a man would come running in from off camera and slam into each other and then walk back out of the frame and then repeat. This caused a large sense of anticipation and suspense using this simple flaw in a cameras eye.
Most of her use of new media was based on documenting her work for reuse. There were quite a few video pieces of which the intent was obviously always to be a video but for the most part she never strayed very far from using a camera as a way to document a series of events. There didn’t seem to be any work that was that integrated with any new means of technology.
Whitney Biennial
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The 2010 Whitney Biennial had a large collection of video and New Media pieces as a part of the exhibit. One of these pieces was Marianne Vitale’s Patron piece. It consisted of a chair placed in front of a television on which a video of her shouting instructions to the audience. These instructions ranged from telling the people in the room to laugh at each other to telling them to find the best-looking person in the room and dance with them as well as to “imagine your feet soaking in gopher urine.”
There was not much to the video itself other then her commanding presence and her seemingly malicious tone. Yet the enjoyment of the piece came from watching people’s reaction to the video. Some people seemed to pretend it wasn’t there, others attempted to comply to her demands which resulted in some interesting scenarios as her demands vary between simple to absurd.
Patron was a attention-grabbing but doesn’t really stand alone without an audience which makes it more interesting as a video piece, for there is not always a group of people in front of it. Her monolog reflects that of older art manifestos calling into action those who hear it but at the same time she never asks for anything meaningful from her audience.
photo 4
' {$STAMP BS2}
' {$PBASIC 2.5}
timeLeft VAR WORD
DO
HIGH 3
PAUSE 2
RCTIME 3, 1, timeLeft
DEBUG HOME, "timeLeft = ", DEC5 timeLeft
PAUSE 100
LOOP
' {$PBASIC 2.5}
timeLeft VAR WORD
DO
HIGH 3
PAUSE 2
RCTIME 3, 1, timeLeft
DEBUG HOME, "timeLeft = ", DEC5 timeLeft
PAUSE 100
LOOP
photo 1
' Robotics with the Boe-Bot - Testphotoresistordividers.bs2
' Display what the I/O pins connectyed to the photoresister
' voltage dividers sense.
' {$STAMP BS2}
' {$PBASIC 2.5}
DEBUG "photoresistor states", CR,
"left RIght", CR,
"------- --------"
DO
DEBUG CRSRXY, 0, 3,
"P6 = ", BIN1 IN6,
" p3 = ", BIN1 IN3
PAUSE 100
LOOP
' Display what the I/O pins connectyed to the photoresister
' voltage dividers sense.
' {$STAMP BS2}
' {$PBASIC 2.5}
DEBUG "photoresistor states", CR,
"left RIght", CR,
"------- --------"
DO
DEBUG CRSRXY, 0, 3,
"P6 = ", BIN1 IN6,
" p3 = ", BIN1 IN3
PAUSE 100
LOOP
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