By snoadmin
A collection of installation pieces, entitled “Split Moment,” is currently hosted at the University Art Museum.
As one of three new exhibits at the UAM, “Split Moment” suggests that performance is an experience through many modes of mediation, fractured and delayed, that make the idea of complete presence almost impossible.
The exhibit features seven different installations by artists, including Josh Azzarella, Trisha Brown, Jocelyn Foye, Babette Mangolte, Kelly Nipper, Yvonne Rainer and Flora Wiegmann.
“The exhibit is loosely-based on dance and movement and more on documentation,” said Mary Coyne, Split Moment’s co-curator and second year student of the museum studies and curatorial practice studies masters program. “It shows how easily we interact with documentation, like pictures and images on screens.”
The collection offers its audience an interactive section comprised of three independent yet integrated parts entitled “Touching,” “Collage” and “Slide Show” by Babette Mangolte.
The viewers are handed white gloves with which they could handle black-and-white digital photographs from a film. A television beside the table of prints displays looped film from a live performance and a monitor displays both silent film clips and still images from a performance at the Judson Theatre in New York.
Jocelyn Foye’s “Sumo Detail” presents a bright, red sculptural relief painting that looks like a mash-up of toes, feet and fingertips. The photographs of a staged sumo match that was the first step in the making of the painting stands beside the sculpture.
“It’s like when little kids put their hands in clay and leave a handprint but reversed,” Foye said about the two part collection. “The match takes about 10 minutes and then I pour rubber cement into a section of the clay and wait for it to harden.”
Foye said that her artwork is all about exploration, to muster out what’s going on when it’s abstract and obscure. She employs the photographs to document the staged action or performance from which her sculptures come from.
Josh Azzarella’s work uses digital technologies to remove the main subject from iconic images and videos. For “Split Moment,” Azarella’s “Untitled #100” removed the dancers, music, props and star, Michael Jackson, from the Thriller music video. It leaves an empty scenery and faint background noise of the familiar scenery.
“It takes constructed images and manipulates it many times as a form of mediation, takes a well known video and takes the main person out” said Damatis Leal, a co-curators of “Split Moment” “They see the world as everything is mediated; not everything is a live performance.”
“Split Moment” continues to beg the question of which is better: a live performance or the documentation of the performance.
Hillairy Morimoto, co-curator for “Split Moment,” said that both the documentation and the performances are equally as important. It’s not about one being better than the other, but you can’t have one with out the other.
“Split Moment” will be on display at the UAM until April 15. The UAM open from noon to 5 p.m. Monday through Sunday; and noon to 8 p.m. on Thursdays.
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