Night Street Touch takes a simple repetitive action and makes it the subject of the work. (…) the act of touching whatever is in the viewfinder is repeated making a closed loop between subject and action. The touching of these objects, surfaces and places is simple yet gains a psychological dimension, as if the action cannot be escaped from.
So abysmal and yet so palpable the impression of being unable to escape one’s own exploits and their psychological repercussions. But to touch is to feel, and acting is living through contact.
Even when one does not own up to one’s actions.
Sometimes contemplating something broken helps us reinvent ourselves.
In a time when easy beauty rules, what a refreshing break to be regaled with weirdness.
And video art by Ryan Trecartin.
When ideas begin to flow much too fast to be translated in ordinary ways, a new form of Art is invented to so they can be expressed.
As new forms of media appear, so do unexpected platforms for artistic thinking. It may seem from the opinions stated here that I am a bit resistant to some types of art, and indeed I am.
Keeping a closed mind is much too a partial attitude for an art lover to have, so from time to time I force myself to embrace and understand ways of producing art that don’t necessarily please me at first.
Video art challenges me. And it’s not even that new.
I am so glad I give it a chance though, because I get to appreciate art pieces such as those by American artist Gary Hill
(Many of his videos can be seen here).
If one can learn how to prize something out of an effort to take an interest, many of the things in this world would be rather different.
In all senses.
Video art isn’t generally the kind of artistic means that gets my attention. So, when a piece does attract my liking, it is because it is outstanding.
Ryan Trecartin is one such brilliant artist:
What strikes me the most about his pieces are the way he creates his videos: a script written poetry-like, to which the first-time actors have no access but are told how to feel upon acting directly to the camera.
The bits on YouTube are part of a larger motion picture, which is theoretically meant to be shown on movie theaters. Trecartin is fond of showing them this way, though, for they get immediate response.
I’m becoming increasingly more intrigued by video art.
It is a type of language most everyone is familiar with and yet it is remarkable to realize how much it can be changed into something quite unexpected.
I don’t know how many of you have seen this, if you have, but I fell in love with this 2002 Omer Fast video the minute I started seeing it:
So-called reality pieced together into different messages about beliefs, preconceptions and exposure to mass media.
What a clever way to weave a web of narratives.