Acmi timeslice3/5/2023 ![]() ![]() ![]() This world is too clean, too ordered, too observed, too quiet.we have built ourselves out of existence.įrom this quiet, constructed world we enter the bombastic audiovisual symphony of Simon Carroll and Martin Friedel’s History of a Day (Australia). Strangely the muzak soundtrack adds to the suggested silence of the place, in which the only living figures are 2 hooded observers, peering in wonder at these creations. Filmed at the Tobu World Square theme park, the camera slowly circles the wonders of the world in quarter size-the Eiffel Tower plonked next to the Vatican, nestled near airports with aimlessly circling planes. Susan Norrie’s Enola (Australia) also plays with scale but focuses more on the compression of the constructed world. The banality of detail provides this world view with a bland universality, heightened by the generic electro beat of the soundscape. We pan and zoom in on sections of the map to glimpse quotidian activities as captured by the anonymous cameras. In the entrance stairway is the Pleix Collective’s Netlag (France)-a tessellated map of the world made up of footage from over 1600 web cameras across the globe. Inspired by Godard’s dictum “It is not necessary to create a world, but the possibility of a world” (catalogue essay) curators Alexie Glass and Alessio Cavallaro have selected Australian and international works which play with scale and time, exploring vastness through compression, fetishising the detail in the epic, and challenging the sense of self in an infinite universe. The latest offering World Without End, is definitely an exhibition where the viewer is asked to surrender to an unknown journey. Because of the contradiction of the dark mood inside to the sunny weather outside, we are still undecided whether we liked Fudong’s work or not.Within an hour of landing at Tullamarine I can usually be found, like a faithful pilgrim, descending the staircase of ACMI’s screening gallery in the hope of losing myself in selections of the best in contemporary screen-based art. Though the most important part of the exhibit was the strange imagery, the addition of minimalistic, yet ominous sounds also played a key role in providing a rather depressing atmosphere. The last part of his exhibition, The Coloured Sky: New Women II showed a variety of Chinese women dressed in old-fashioned swimming suits posing for pictures. Another, East of Que Village, showed a 15-minute loop of a pack of dogs gnawing at a carcass in a field. For example, one of his works, The Fifth Night, had several screens showing different people in black and white where the footage of these people was taken simultaneously, but in different locations. We found his work quite weird, yet interesting. In addition to the permanent exhibit, we also visited a temporary showcase of the work of Yang Fudong, which consisted of four “chapters,” or separate video installations. You can see our more-or-less dramatic fight scene for yourselves (Marta forgot to jump). The coolest attraction was hands-down “Timeslice.” Here, we entered a room surrounded by 36 cameras that took sequential images of us to simulate the “Bullet Time” action shots from The Matrix. Sadly, there was a group of greasy teenagers camped in front of Mario Kart, so we didn’t have a chance. ![]() Included in the history of the moving image was video games and we were really excited about playing the demos that they had available. ![]()
0 Comments
Leave a Reply.AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |