You are on page 1of 1

Video Installation

‘PSYCHO architecture’ ‘WORLD dance’ ‘PSYCHO 24’

Matt Mullican is an American artist whose work is concerned Much of Gordon’s work is seen as being about memory
with systems of knowledge, meaning, language, and and uses repetition in various forms. He uses material
signification. He loves to demonstrate the relationship be- from the public realm and also creates performance
tween perception and reality, between the ability to see some- based videos. His work often overturns traditional uses
thing and the ability to represent it, which may be similar to of video by playing with time elements and employing
the nature of his audience. For instance, “Psycho multiple monitors. Douglas’s work often overturns
Architecture” (shown above) uses the style of two TV screens, traditional uses of video by playing with time elements
each with headphones to engage the viewer to a more personal and employing multiple monitors, much like Marie-Jo
and de-tailed level. One channel follows the artist moving Lafon-taine and Matt Mullican. One of his best-known
around his studio - in a near slap-stick manner – studying its art works is24 Hour Psycho (1993).The work consists
contents at nose range, while the other is filmed through entirely of an appropriation of Alfred Hitchcock’s1960
Mullican’s point of view. Though this demonstrates the trait Psycho slowed down to approximately two frames a
of in-tense scrutiny that curiosity may provoke, it does not second, rather than the usual 24.As a result it lasts
provide any fruitful understanding, hence is a non-narrative for exactly 24 hours, rather than the original 109
as there is no story to it, but rather, a type of experiment minutes. The film was an important work in Gordon’s
known as an “avant-garde”. In this piece, Mullican uses the early career, and is said to introduce themes common to
technique of having multiple screens which allows the audience At first glance, some installations may resemble traditional his work, such as “recognition and repetition, time and
to view the actions from different viewpoints and uses the craft based sculpture or the more modernist assemblage art. memory, complicity and duplicity, authorship and
technology of television monitors coupled with personal But this is an illusion. Installation art effectively inverts authenticity, darkness and light.”
headphones/speaker which give the audience more of a the principles of sculpture. Whereas the latter is designed
connection with what they are watching. Mullican’s work is to be viewed from the outside as a self-contained arrangement
similar to that of Marie-Jo Lafontaine because they both use of forms, installations often envelop the spectator in the
the technique of having multiple screens to show their work. space of the work. Dance the World! Marie-Jo Lafontaine is an
Out of all the video installations this will relate to my installation, film and extraordinary montage depicting four
ideas the most as there would be two monitors at maxi-mum with dances, and in these films, five women are engaged in the
chairs, and my animation will be displayed on a loop. movements and rhythms of the tango, the flamenco and oriental
dance. Hence, Dance the World! Not only becomes a metaphor
for desire and violence, but also a clarification of the
female condition, her power and her freedom, transcended by
sensuality, the human body and passion. This film, however,
is not only carried by sensitivity. In fact, the most
constant element in this film can be found in the mirror that
overhangs the room where the women are dancing and which
periodically appears as a symbol of the film within the film;
filmception, as it were. The mirror requires an exploration
of the image as an illusion of infinity. Behind the rich
passion, the mythical dance, these timeless women and also
their terrestrial condition, there is the restrained passage
from black-and-white to colour, from static image to moving
image, the rotational motion of cinema and finally, the
soundtrack, which engenders an outline of the artist’s poetic
resonance… In short, it’s an expedition into appearances on
film, which, suddenly, becomes an illusory game about the
nature of illusion itself. In this piece, Marie Jo-Lafontaine
uses the technique of multiple screens displayed around the
room to create the feeling of vastness and she uses the
technology of image projectors to be able to display her

At first glance, some
installations may resemble
traditional craft
based sculpture or the more
modernist assemblage art. But