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
Spatial Story telling
Phantasmagoria – Robertson (1797)
Pre-cinematic narrative vs post-cinematic
Narratives in animation where stories are shorter.
Spatial connection with interaction
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
Each viewing will offer another layer of meaning and closure