A Room of Its Own: Screening Space and Spectatorial Experience in Yang Fudong's Fifth Night and Omer Fast's Continuity
Notice bibliographique
Résumé
Museum-going, for me, is an edifying, occasionally electrifying experience, yet hardly ever capable of transporting me nearly so rapturously as my favorite films projected on big screen at cinema. When visiting a gallery or museum I instinctively gravitate to film and video installations (or, if those are not to be found, photography) rather than canvases and sculptures. Whereas contemporary film debates center around celluloid versus digital projection and movie-going versus home theatre, screen media exhibited in gallery spaces has become an accepted staple of contemporary art scene and may well constitute a last refuge for art film to be projected publicly. Nonetheless, as even casual museumgoer knows, our practice of watching, in teatro, a film in its entirety from beginning to end is by no means standard practice when viewing moving-image media in a gallery space. The more fitting analogy would be to movie-going of a bygone era, when screening programs comprised multiple short features and patrons drifted freely in and out, (a practice that Alfred Hitchcock definitively put a halt to with his mandate that no one be allowed into theatres showing Psycho [1960] after it had begun). As a way of thinking through relation between visual art and screen media and their respective curatorial and spectatorial practices, I will explore single pieces by two contemporary film and video artists of international note, Yang Fudong and Omer Fast, that themselves foreground temporal-spatial considerations in conceiving, exhibiting, and experiencing gallery-installed works of screen media. [ILLUSTRATION OMITTED] Too rarely does one encounter a gallery-installed film or video work that seems ideally viewed within that forum, let alone works for which a meaningful experience necessitates precisely this spectatorial situation. Chinese-born, Shanghai-based Yang's Fifth Night (2010) is an example of such a work, and an exemplar of how rich an encounter with such a work can be. At a mere 10 minutes 37 seconds, it is certainly temporally convenient for gallery-goer. Far more significant, however, is Yang's accomplishment in creating a work with spatial and spectatorial requirements that a traditional cinema with its single screen and fixed seating would be ill-equipped to provide. So I could review piece to write this essay, Yang's U.S. gallery, Marian Goodman New York, generously sent me a screener of Fifth Night compiled as seven HD video files; viewing these sequentially on my laptop screen made for a far more stilted, less transporting experience than I'd enjoyed during my initial encounter with work at Vancouver Art Gallery. In that venue, Fifth Night was projected on seven separate but aligned, theatre-sized screens stretching along one wall of a cavernous rectangular space, enclosed and sufficiently dark that film's black and white images shimmered. Like this spatial configuration, title of piece places us in a dream space, the fifth stage in sleep cycle [being] a period when dreams are particularly lucid, a veritable magic hour for sleepers. (1) Movie-going, long compared to dreaming, is also conjured by film's production design and aesthetic qualities--shooting on backlot of a Shanghai film studio haphazardly filled with artificial-looking sets and stray props, in chiaroscuro tones of elegant epics, Yang clearly alludes to Shanghai's golden age of film production in 1930s. (The number 1936 appears prominently on a building's facade.) Reminiscent of uncanny quality of photographer Cindy Sherman's Untitled Film Stills (1977-1980) and of filmmaker Guy Maddin's evocative use of silent cinema-era techniques, Fifth Night presents itself both as paean to and parody of classical cinema both of China and of West. [ILLUSTRATION OMITTED] Narratively, on any given screen, virtually nothing happens. A young man in a white undershirt flecked with what looks like bloodstains walks in a daze through a city plaza at night; two wide-eyed young men in neat but worn suits, struggling under weight of suitcases, gaze about despondently; a demure-looking young woman in a flowered dress wanders amid rickshaws and horse-drawn carriages that cross square diagonally. …
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Comment cette classification a été obtenuedéplier
Prédiction machine sur la base complète
Imitation des enseignantsNi prévalence calibrée, ni vérité terrain. Validation humaine à venir. Le volet Gemma est une étiquette directe du modèle pour chaque travail de la base, lue sur la notice réduite au titre. Le volet Codex est un classifieur appris des 10 348 étiquettes directes de Codex et calibré sur les taux pondérés de l'échantillon; les champs sans appui suffisant ne portent aucun appel Codex. Le mode candidate est l'union des deux volets; le consensus est leur intersection. Ces sorties portent le statut machine_predicted_unvalidated et ne sont pas des étiquettes humaines.
Scores du classifieur distillé par catégorie (deux têtes)
| Catégorie | Codex | Gemma |
|---|---|---|
| Métarecherche | 0,001 | 0,002 |
| Méta-épidémiologie (sens strict) | 0,000 | 0,000 |
| Méta-épidémiologie (sens large) | 0,000 | 0,000 |
| Bibliométrie | 0,001 | 0,001 |
| Études des sciences et des technologies | 0,013 | 0,007 |
| Communication savante | 0,004 | 0,002 |
| Science ouverte | 0,001 | 0,004 |
| Intégrité de la recherche | 0,001 | 0,003 |
| Charge utile insuffisante (le modèle a refusé de juger) | 0,008 | 0,000 |
Scores machine (provisoires)
Les deux têtes enseignantes du modèle étudiant, lues sur ce travail. Un score ordonne la base pour la relecture; il n'affirme jamais une catégorie, et le statut de validation accompagne chaque rangée tel quel.
Scores de référence d'un modèle non mature (critères de maturité non atteints, 7 itérations). Un score ordonne; il n'affirme jamais une catégorie.
score_only:v0-immature-baseline · tel quel depuis la passe de notation : score_only signifie que le nombre peut ordonner les travaux, et qu'aucune étiquette de catégorie n'en découleClassification
machine, non validéePrédiction automatique; un appel candidat d’une seule source (Gemma direct ou Codex distillé), pas un consensus.
Le détail, modèle par modèle et score par score, se trouve en fin de page sous « Comment cette classification a été obtenue ».