Lea Vidakovic – fragmented narrative


Splendid Isolation (2010) by Lea Vidakovic

This lesson we have a sharing from Lea Vidakovic 


Several terms for setting the context Fragmented narrative – non-linear, disjointed

Animation installation

Spatial Story telling


Magic lantern

Phantasmagoria – Robertson (1797)


Pre-cinematic narrative vs post-cinematic

Narratives in animation where stories are shorter.

Spatial connection with interaction


Rose Bond

Site-specific narrative using projection


Born in Hyogo in 1975, Tabaimo is a phenomenon in Japan. A major retrospective of her works was presented at Tokyo’s Hara Museum in 2006.
Her video installations, which incorporate animated films, draw their inspiration from the current social and economic problems, revealing the underbelly of Japanese society.Her animations combine the nuanced colours of traditional engravings with the sophisticated technology of the computer.
What is it about her pessimistic and phantasmagoric world that captures the interest of so many people?
What will she do next ?
In addition to Ginyo-ru, her most important work since hanabi-ra in 2003, this film surveys her retrospectives at the Hara Museum, the Fondation Cartier, where Tabaimo presented her first solo exhibition in Europe in 2007, as well as the Venice Biennale, reflecting her output over the last eight years.


TABAIMO talks about creating works where the narrative is not strictly defined.  I love her use of space to convey a kind of emotion. Her works focus on using the space to tell the story of what


William Kentridge: How we make sense of the world

How do we understand the world?

How do we make sense of the world?

We take in a fragment, a headline, a part of a dream.


Does a narrative have to make sense?

How much control should we give the audience who on


Ringo Bunoan, Endings and No Endings

In this installation, Ringo used books as well as their endings to form a philosophical statement about time. The tower of books against the wall have had their endings removed; conjoined in endless continuity. On the other side, the removed single-paged endings with ‘The End’ marking its finality line the adjacent wall; an ironic chain of endings.



Ringo Bunoan, Endings, 2013. Framed book pages. Dimensions variable. Singapore Art Museum collection



Ringo Bunoan, No Endings, 2013. Book installation. Dimensions variable.


“As much as it is about endings, it is about endlessness. So, ideally the works should be floor to floor and wall to wall; this idea of continuity in connecting spaces. You can have a thousand endings and always add to it—there is no end.” – Ringo Bunoan

As one’s eyes follow the vertical tower and the horizontal display of framed book pages, a cross-hair or intersection of sorts is demarcated; an imagined completion of the books and of time through the movement of our eyes.


Liana Yang  – With Someone Like You




A recent installation that I had the honor to seeing is this work of Liana Yang. In a room filled with pages of romantic novels, the stories are spread out on to walls, each with a page describing an encounter of two. There really isn’t much of a story but we can a sense of this romance in the lines.

The intrigue for me was how we began creating our own narrative out of the lines. We form our own love story. We imagine what is happening and we began to leave with different ideas of what the story is.

The piece intriguing because there is no handholding. It does not tell us what the story is, or if there is even any story at all.

We don’t know where to start, or rather we can start anywhere,and I think that is pretty cool.



Methods which will be explored

Physical space as a narrative device

gaps between the screens

editing techniques

spatial montage


sound interaction

Each viewing will offer another layer of meaning and closure

1 Comment

  1. “Does a narrative have to make sense?”

    I think that’s a fascinating question – one that I read in your post and something I’ve been pondering about too.

    The most conventional response I’ve gotten to such a question would be that narratives do have to make sense, especially for your intended audience, if any. And not making sense may also run the risk of being too self-indulgent as an author or artist.

    I’m not sure if an answer is even needed for the question. But perhaps as long as a viewer manages to take away something from the work for himself/herself to keep, it would be enough for the author. Whether something makes sense or not may not be important after all. What’s important is having that moment of being able to relate to the narrative, despite its fragmented ideas.

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