saw the drawings left on the hangers, a cryptic trace of what
between states of matter. This slow-motion circus is produced
game environment. In this, like the Villegas and Niemczyk
had happened. White clothing in all three performances
by a generative system oscillating between moments of frozen
pieces, a question cropped up that does not come up with
gave a unifying feel to the event.
stasis and swiftly accelerating change. Whether the work truly
traditional media: “is it working properly or is the artist being
A major question with installation art is what if any behavior
provides a “glimpse into deep time” each viewer must determine.
is deliberately elicited? Wave Field, Robert Drummond’s
Karen Niemczyk’s The Evolution of Self—a suspended, three-
Many works here engaged the thematics of our
immersive interactive sound and light environment, contained
dimensional helix of copper wire with fiber optics intertwine—
problematic relationship with nature and in some way
a big black surfboard shape and four squares. Ambient
was intended to “interact with viewers around the work.” It
emphasized the cyclic nature of things. Time was an essential
sounds—a drone, waves crashing, water rippling—changed
was not clear how or whether this was happening, but it was
factor, both in terms of each piece’s internal rhythm and
by one’s movements, brought to mind Alvin Lucier’s standing-
graceful, and one of few that directly invoked the single human
duration, and how much of one’s own time to dedicate, given all
wave sound works of the mid-1970s. Much depended on my
organism. Video Dream Tent X2 by Marion Wasserman and Louis
the distraction and interference the world provides. This annual
interpretation of the result of my actions. Offering a freedom
Leray was nice to walk past and glance at. The greater intimacy
festival, truly a community effort, unfolds citywide in partnership
like the early new music scores of John Cage and others in his
of putting my body inside and being horizontal was a more
with numerous local galleries and organizations. Next June, plan
wake, the piece also invoked the arbitrary. Robert Campbell’s
coherent and interesting experience. The first sense engaged
to dedicate some time to Currents.
Interval Two, part of his Bardo series, is a triptych of slowly
by Susanna Carlisle and Bruce Hamilton’s Untitled environment
—Marina La Palma
changing, abstract, chance-driven, vertical image panels.
of suspended large balloons with scenes of nature and hurrying
Sitting on a couch watching it, one hopefully achieved a sort of
urbanites projected onto their surfaces was smell (vinyl, latex,
meditative alertness, akin for me to peak moments of viewing
rubber?). As the balloons deflated in the course of the show,
medieval or renaissance painting.
more coronas of light spilled over the spheres onto the walls
For Emily Martinez’s Anti-Apocalypse, the interface to a
behind them. The incidental
large screen is a sensor attached to the forehead, monitoring
can sometimes be a viewer’s
in some form the viewer’s brainwaves for “concentration”
favorite aspect of a piece.
and “distraction.” This work was composed entirely of
downloaded imagery; the artistry is shifted away from the
us back to ourselves in
older means of production of footage entirely to the interface
some way. In Ant Theater, by
design and selection of pathways through the imagery based
Javier Villegas, the video ants
on your EEG. Several of us watched a sensor-wearing
“respond” to feedback from a
woman in the chair for at least twenty minutes, an interesting
camera pointed at the viewer
amalgam of voyeurism and community. Some early
by re-clustering in forms that
experimental cinema laboriously incorporated found and
mimic the viewer’s outline.
stock footage, but how stunningly different is today’s access
Joyce Rudinsky and Victoria
to a nearly infinite pool of diverse imagery.
David Stout and Cory Metcalf worked together in an
installed in a comfy cubicle
ongoing collaboration that is about process as much as product.
with couch, employed the
Melt, set on three walls, is ceaseless flux; one sees crags, caverns,
rifts, striations, splashes, icebergs, geysers, transformations
tests in a single-user video-
Below: Catherine Chalmers, We Rule, single channel video, 2012 Left: Cesar Meneghetti, I/O, single channel video, 2010 Bottom: Paola Gaetano-Adi, Desiring Machine I, installation and performance, 2010
THE magazine | 65
THE magazine is Santa Fe New Mexico's magazine of international art, photography, culture, and restaurant dining.