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Women Cinemakers changing soundtrack created new relationships for each repeat viewing. Indeed, viewers were at liberty to wander about, move, dance, come and go as they please, observe to their heart’s content, all the while making choices about when to focus on the work and when to just stand in beside it. The time and location of the screening created the context for the film. The connection to the museum, which functioned in this case as a white cube, screened as the movie was on one of its walls, was evident to the audience from the outset: It was clear that this event was devoted to artists’ reactions to works from the museum collection. In many respects the movie “Re-Organization” deals with this transformation, from one medium to another, and in the way the consumption of an artwork influences the viewer’s experience. As curators, arranging works together in the form of an exhibition, we make the work part of a larger whole and so invest it with new meaning. When we observe a single work of art our gaze turns inward, exploring the world of meaning contained by this single work and the way in which it resonates with us. When we observe a work displayed within a particular collection, we look for the meaning of the work not only within the boundaries of that particular piece, but in its affinity to other artworks as well, acknowledging that thought was put into organizing and making these connections. The catalogue is how we take the exhibition home with us, and as we flip through the pages of a catalogue in a new environment, new hierarchies and connections are consequently established. We can return to it at particular moments in our life and in so doing appropriate it for ourselves. Several figures found their way into the film which the three of us discovered only through the catalogues, and which we had never seen in reality. Clearly, the experience of an actual work of

art differs from seeing its reproduction. We tried to acknowledge this divide as well in our work. Today’s world is an increasingly interconnected web. The pace of life is getting faster and faster and the wealth of information at everyone’s disposal tends to devalue memory and recognition skills in favor of organizational ones – curating, drawing connections, filtering, making hierarchies. Sometimes it feels like there’s nothing left to discover or invent - that every invention is just a reorganization of things that have already been made. To a large extent our initial experience of the catalogues was a similar one: A limitation that turned out to be endless, a nonlimitation. We tried to convey this sense of abundance to the viewers, who are offered the role of curators, not very different from their role when surfing on the Net. We have highly appreciated the way Re-organization accomplishes the difficult task of establishing direct relations with the viewers: to emphasize the need of establishing a total involvement between the work of art and the spectatorship, Swiss visual artist Pipilotti Rist once remarked that "we are trying to build visions that people can experience with their whole bodies, because virtual worlds cannot replace the need for sensual perceptions." Do you aim to provide your spectatorship of an enhanced visual experience capable of working as an extension of ordinary perceptual parameters? In all of our recent work we try to involve spectators - both in terms of their active gaze and freedom to interpret, and their physical location relative to the piece. “Re-Organization” was originally experienced in a party setting. It was exciting to see how viewers imitated the movements of the figures on screen, generating new choreographies in the process. Our connection to the piece was also very physical in nature. We try not to limit our activity to the computer alone but deal with

Profile for WomenCinemakers

WomenCinemakers, Special Edition  

WomenCinemakers, Special Edition  

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