frames per second
Haviland & Colagiovanni
Gerco De Ruijter
Matthew C. Wilson
*Special Thanks to AV Metro and Frank Thompson for help with this exhibition.
Frames per second offers a glimpse into the potential and variety of contemporary video art and practitioners Gabriel Barcia-Colombo, Haviland & Colagiovanni, Lotte Geeven, William Lamson, Gerco de Ruijter, Tim Tate, Shen Wei, and Matthew C. Wilson. Prickly to fully categorize, video art has been a postmodern site for experimentation in a variety of artistic approaches – a collision point for conceptual art, performance art, sculpture, time-based media, experimental film, and documentation. As time passes and the medium further matures, it often offers the best that an interdisciplinary outlook in artmaking can provide by creating pieces that fuse such styles together. By no means intended as a survey of video art, frames per second instead samples the works of experienced artists in the field, with a focus on works whose non-narrative structures entrance their viewers into meditative reflections on the everyday.
In de Rujiter's Crops and Geeven's Sovereign, each artist formally echoes the temporal dimension that differentiates video art from other visual arts like painting or drawing. Whether it is seeing the earth's agricultural changes through hundreds of aerial photographs of long-water sprinkler arms or a spinning Jaguar counting the passage of a day like the second-hand of a clock, the two works draw attention to the passage of time without the need to fill it with a story.
Alternately, Shen Wei's and Matthew C. Wilson's pieces F.L. and Rainbow Formation, respectively, work to remove a viewer from any concerns regarding a need to attend to time. In F.L., Wei's three-channel video enables an investigation of the soothing act of watching the surf by recording the views not typically explored – a frontal shot of the observer and his left and right views. Wilson, too, evokes calm through video. In documenting the evolving variations of color and light as reflected in Nujol, a mineral oil, Wilson offers his viewers a transcendental glimpse into the infinite.
Tim Tate's objects and sculptures with video components and Gabriel Barcia-Colombo's Tube II examine the effects that physicality has on video art when highlighted either through combination or contrast with other elements. For Tate, the additional elements allow him to use sculpture as not only a form that can facsimilate movement, but also one that can include it. For Barcia-Colombo, it literally frees the video form, uncaging it from its televised prison.
Lamson's works on display depict actions, but they are actions that invite suspense out of expectation of the everyday instead of suspense for an unknown chapter of a tale. In A Line Describing the Sun, the viewer awaits the sun's path not for what the day might bring, but for the hope of an uninterrupted burn line on the Mojave desert floor. Haviland & Colagiovanni's "Music for Teacups" is made possible by the action of breaking china, but the piece technically begins with the “end” of that arc. It compels the viewer to watch not to see an outcome of china breaking, but to see how Haviland & Colagiovanni re-edit the action and its sounds into a melody.