Bill Viola 比尔·维奥拉Bill Viola 比尔·维奥拉Bill Viola 比尔·维奥拉
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[楼主] 嘿乐乐 2006-07-17 02:45:31
Bill Viola

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比尔·维奥拉是国际公认的视像装置艺术先驱。从艺三十多年以来,他先后创作了150余件录像、音像装置、电子音乐表演以及电视和广播艺术作品。在艺术家层出不穷的今天,比尔·维奥拉以他的博学和对当代高科技传媒的熟练掌握在国际艺坛牢牢地站稳脚跟,并成为闻名世界的视像魔术大师。30多年来,比尔·维奥拉始终致力于通过录像手段研究和探索人类那个看不见的精神世界,梦、记忆与联想、情感世界、生与死都是他所要表现的主题。其作品在表现生、死、潜意识等人生最根本、最普遍的经历的同时,也表达了他对生命、宇宙与时间的思考。维奥拉的作品主题鲜明,表现深刻细腻,技术手段先进,是艺术与高科技的完美结合,具有强力震撼力。   近20几年来,维奥拉的作品频繁地奔走于世界各地,在著名的博物馆和画廊展出。2003年1月24日,他的以"感情"为主题的新世纪新作展又在洛杉矶的"保罗·格蒂博物馆"拉开了帷幕。4月27日结束格蒂的展览之后,全部作品还将奔赴伦敦等地继续巡回展的旅程。参展的13件录像作品全部为艺术家在新世纪的创作,其中12件是以情感为主题的系列作品,另一件创作于2000年的巨作--"新世纪的五个天使",也被艺术家以"表现情感的另一种方式"为由列在参展名单之列。这些作品是艺术家多年来在当代艺术的禁区--人类精神--中奋力探索的心血结晶,也是他在经历了1997-1998年的反思期和在格蒂研究院做访问学者的研究成果的演化。

  比尔·维奥拉1951年生于美国纽约,1973年Syracuse大学实验工作室(Experimental Studios)毕业。70年代期间,作为欧洲第一批录像艺术工作室的技术指导,维奥拉在意大利的佛罗伦萨工作了整整18个月。此后,他开始周游世界,先后在所罗门岛、爪哇、巴厘岛和日本等地停留,对当地传统的表演艺术进行深入细致的研究和记录。1980至1981年,在日美文化交流基金的赞助下,维奥拉与妻子在日本生活了一年,其间他不仅以客座艺术家的身份在索尼公司旗下的Arsugi研究实验室从事创作和研究,并且师从禅宗大师Daien Tanaka学习佛教。1984年,维奥拉在美国圣地亚哥动物园做客座艺术家,参与"动物意识"研究与创作计划。1995年,作为美国艺术家的代表,维奥拉参加了第46届威尼斯双年展,作品《埋葬的秘密》(Buried Secrets)在美国厅展出。1997年,美国纽约惠特尼美术馆为他举办了大型作品回顾展--"比尔·维奥拉:25年的回顾"。在长达两年的时间里,该展览先后在美国及欧洲的6个博物馆展出,维奥拉的艺术引起举世瞩目。

  豪放不羁是人们对艺术家生活的总体认识,然而,比尔·维奥拉似乎是一个例外,他的生活甚至可以用苦行僧来形容。作为一个基督教信徒,比尔·维奥拉不仅认真研究过基督教的各种文献,还对印度教、佛教以及禅宗等东方宗教的教义与文献都有所研究。自从1980年拜师研究禅宗以来,他一直兢兢业业,严格修行,不论是家中事物,还是工作事宜全权交给她的妻子打理。

  对于维奥拉来说,1997-1998年是他生命旅程中至关重要的一年,其间他不仅经历了人生中的两件大事--父亲去世和长子诞生,事业发展也进入了休整期,他似乎走在了一个岔路口,个人的艺术向何处去一时期成为一直萦绕在心头的一个问号。正在此时,格蒂研究中心邀请他去做访问学者,该中心本年度的研究课题是"感情的表现",重点研究在漫长的艺术史中,人类情感是如何被艺术家们演绎与表现的。在充分利用格蒂丰富的研究资源的同时,维奥拉发现自已似乎已经陷入格蒂美术馆的藏品之中,而对于中世纪和文艺复兴时期的收藏,维奥拉倾注的时间与精力更是不计其数。

  刻苦的钻研终于取得了丰硕的成果,展览"感情"中作品的诞生就与这一年的辛勤劳作必不可分。在格蒂结束了一年的研究后,维奥拉的记事本上已经写满了关于未来作品的思考。从2000年开始的第一件创作,三年来维奥拉共创作了20件以情感为主题的系列作品。这些作品几乎涉及了人类七情六欲的所有情感,其中许多作品业已被世界的一些重要博物馆收藏。在本次巡回展中露面的作品有格蒂委托创作的《紧急情况》(Emergence)。这是该作品的首次公开展出,与作品同时展出的还有一个纪实性电影短片"比尔·维奥拉和他的'紧急情况'",这个电影短篇也是由格蒂委托摄制的,作者是马克·基德尔(Mark Kidel)。值得一提的是,格蒂曾经有一个不展览当代作品的明文规定,此次展览维奥拉的视像作品确实是博物馆的一次勇敢的破例。同时,由于维奥拉的这些作品几乎都是对古代作品的新形式的传译,因此主办展览的几家博物馆认为,对于那些对当代艺术怀有敌意的观众来说,维奥拉的作品会引导观众从一个全新的视角重新体味经典作品的无穷魅力。在随展览出版的作品集中,维奥拉这样写道?quot;那些老作品只是一个导火线。我并不是要将它们挪用或重组,而是要走进作品之中……与作品中的人物相伴左右,感受他们的呼吸。最终变成他们精神与灵魂的维度,而不是可视的形式。我的初衷就是要到达感情以及感情自然流露的根本。在我70年代接受艺术教育时,这是一个不能涉足的禁区,今天依然如此。"《惊讶五重唱》(The Quintet of the Astonished),是系列作品的第一件,是伦敦国家画廊(National Gallery)在2000年委托维奥拉创作的。该作品的创作灵感完全来自该画廊的藏品《嘲弄基督》(Christ Mocked)。这是一幅创作于中世纪(1490-1500)的宗教题材作品,作者是尼德兰(荷兰)画家耶罗尼姆斯·博斯(Hieronymus Bosch)。象系列中的其他作品一样,维奥拉邀请了专业演员从事该作品的表演创作。对他来说,这是一个新的尝试。在构图上,维奥拉参考了绘画作品对人物的安排,但并没有完全照搬或挪用。五个表演者紧紧地靠在一起,但身体的相依并不能掩盖内心的孤独,它们在相同的物理空间,不同的心灵空间,同时演绎着人类不同的情感:欢喜、悲伤、愤怒、恐惧、。最先进的投影设备的使用,不仅展现出了一幅幅色彩纯正,图像清晰的画面,也强化了作品对博斯原作的色彩和戏剧化表现语言的夸张模仿,演员的激情生动的表演是作品获得成功的重要因素。从某种角度上说,维奥拉的作品不再是个人创作的成果,其中不仅有演员的表演,还有一整套的拍摄班底的辛勤劳作,再次印证了当代艺术的群体创作性。

  《沉默的高山》(Silent Mountain)创作于2001年,是通过在墙面上的两个并排安置的同样大小的等离子显示器播放的双联录像作品。艺术家的创作灵感来自于中世纪的另一幅绘画作品--《圣母领报》(The Annunciation)。该作品创作于1450-1455年,作者是尼德兰(荷兰)画家迪里克·鲍茨(Dieric Bouts)。两个在不同的时空表演的演员,似乎处在一个共同的对话空间,他们情感交融,共同经历着极限的情感发泄。"这是我在无声的《沉默的高山》中记录下的最撕心裂肺的吼叫",比尔维奥拉说。

  《凯瑟琳的房间》(Catherine's Room)是一个5联录像作品,5个仅有一本书大小的并排画面同时出现,展示主人公凯瑟琳(演员表演)--一个虔诚的信徒--整个一天的孤独生活。安德烈亚·迪巴托罗(Andrea di Bartolo)创作于1393-94年的一幅作品是艺术家创作该作品的原始素材。

[沙发:1楼] 顶帖超人 2006-07-20 06:08:26
顶啊!! 钱啊!!
[板凳:2楼] 顶帖超人 2006-07-19 05:53:56
开始赚钱!! 我顶!!
[地板:3楼] 嘿乐乐 2006-07-19 06:07:51
[4楼] 嘿乐乐 2006-07-19 06:08:32


[5楼] 嘿乐乐 2006-07-18 07:14:24
The Messenger

1996

Video/Sound installation

Ed. 3/3

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The Messenger, 1996 Detail of Installation in Durham Cathedral

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The Messenger, 1996 Detail of Installation in Durham Cathedral

Originally commissioned for Durham Cathedral by the Chaplaincy to the Arts and Recreation North East England

Edition 1 The Chaplaincy to the Arts and Recreation in North East England;
Edition 2 The Bohen Foundation, New York; promised gift to the Soloman R. Guggenheim Museum, New York.
Edition 3 Albright-Knox Art Gallery

Collection Albright-Knox Art Gallery, Buffalo, New York

Sarah Norton Goodyear Fund, 1996
[6楼] 嘿乐乐 2006-07-18 06:04:05
[7楼] 嘿乐乐 2006-07-18 06:02:04
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Bill Viola, I Do Not Know What It Is I Am Like, 1986
Video, 90 minutes
[8楼] 嘿乐乐 2006-07-18 05:59:42
Mater, 2001
Diptych, video on LCD flat panel displays
Edition 4/5.
40.7 x 65.5 x 4 cm
[9楼] 嘿乐乐 2006-07-18 06:01:19
[attachment=94882]
Hall of Whispers, 1995
Video/sound installation: 10 custom made projectors, 10 laser disc players and speakers
Edition 1/2 Ten channels of black-and-white video projected five each onto opposite walls of darkened hallway; ten channels of amplified mono sound
300 x 760 cm
[10楼] 嘿乐乐 2006-07-18 05:57:14
Going Forth By Day: First Light

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Going Forth By Day: First Light, 2002
Video/sound installation, dimensions variable. Photo: Kira Perov
[11楼] 嘿乐乐 2006-07-18 05:41:53



[12楼] 嘿乐乐 2006-07-18 05:23:32
Angel’s Gate

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Angel’s Gate, 1989
Videotape
Lent by the artist
A succession of individual images are punctuated by long, slow fades to black. The image sequences, including fruit falling from a tree, a candle being extinguished, a family having a flash photograph taken, appear as a series of openings or momentary glimpses into nature's essential gestures which, like thoughts, are destined to fade and themselves disintegrate into obscurity and oblivion.
[13楼] 嘿乐乐 2006-07-18 05:20:43
Passage

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Passage, 1987
Video/sound installation
Edition 1: San Francisco Museum of Modern Art; Accessions Committee Fund: gift of Mr. and Mrs. Donald G. Fisher, Susan and Robert Green, Pamela and Richard Kramlich, and Mr. and Mrs. Brooks Walker, Jr.
A long narrow corridor leads to a small inner room where a large projection fills an entire wall. A videotape of a child's birthday party is being played back in extreme slow motion, taking seven hours to unfold. The room architecture places the viewer uncomfortably close to the image, and the deep rumbling sound of the slowed children's voices fills the space. An architectural structure enclosing time, the hallway and viewing room frame an image that transcends human scale in both time and space, placing the child's birthday party in the internal, subjective domain of ritual, memory and emotive association.
[14楼] 嘿乐乐 2006-07-18 05:18:12
The Reflecting Pool

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The Reflecting Pool, 1977-79
Videotape
Lent by the artist
A man emerges from a forest and stands before a pool of water. He leaps up and time abruptly stands still. From this point, all movement and change in the otherwise still scene is limited to the reflections and undulations on the surface of the pond. Time becomes extended and punctuated by a series of events seen only as reflections in the water. The emergence of the individual into the natural environment becomes a baptism into a world of virtual images and indirect perceptions.
[15楼] 嘿乐乐 2006-07-18 05:15:56
Reasons for Knocking at an Empty House

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Reasons for Knocking at an Empty House, 1982
Video/sound installation
The Art Institute of Chicago; Restricted gift of Barbara Bluhm, Mrs. Thomas H. Dittmer, Ruth Horwich, Susan and Lewis Manilow, Marcia and Irving Stenn, Dr. and Mrs. Paul Sternberg, and Lynn and Allen Turner, through prior acquisitions of the Leigh and Mary Block Collection
A heavy wooden chair stands empty in front of a TV monitor. The monitor shows a man in close-up as he struggles to stay awake and alert. The room is silent. Headphones on the chair reveal his inner body sounds of breathing and swallowing, with multiple voices heard in the background engaged in stream-of-consciousness chatter. At random intervals, the man is struck violently from behind by an unseen figure, causing a loud explosion of sound to momentarily burst out from two loudspeakers in the room.
[16楼] 嘿乐乐 2006-07-18 05:14:04
Room for St. John of the Cross

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Room for St. John of the Cross, 1983
Video/sound installation
The Museum of Contemporary Art, Los Angeles; The El Paso Natural Gas Company Fund for California Art
Through a window in a black cubicle in a black room, a small color monitor on wooden table is visible. The monitor displays a color image of a tranquil snow covered mountain. A voice quietly reciting the poems of the Spanish mystic St. John of the Cross can barely be heard from within. Outside, a large image projected on the wall shows black-and-white images of snow covered mountains in constant wild, chaotic movement. A loud roaring sound fills the space like a storm. St. John's poems often describe love, ecstasy, flying, and passage through the dark night. They were written while he was held prisoner in a tiny windowless and cell and tortured by the Inquisition for nine months in the year 1577.
[17楼] 嘿乐乐 2006-07-18 05:12:07
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The Stopping Mind



The Stopping Mind, 1991
Video/sound installation
Exhibition copy; original in the Museum für Moderne Kunst, Frankfurt
Still images appear on four large screens mounted parallel to the four walls of the room. A voice is audible at the center of the space quietly whispering a continuous chant that describes the passive loss of bodily sensation in an unknown black space. At random intervals the images simultaneously burst into movement, momentarily coming to life in violent frenetic motion and loud roaring sound. They abruptly become silent and still again as frozen frames, until the next burst of activity once again brings them to life. The room continues in a continuous cycle of sustain and release, as memory and experience constantly interact within the larger stream of the perpetual movement of individual consciousness.
[18楼] 嘿乐乐 2006-07-18 05:09:50
The Sleep of Reason




The Sleep of Reason, 1988
Video/sound installation
Carnegie Museum of Art, Pittsburgh; Museum Purchase: Gift of Milton Fine and A.W. Mellon Acquisition Endowment Fund
A black-and-white monitor on a wooden chest shows a close-up view of a person sleeping. At random intervals the lights in the room cut out and large violent images appear on the walls as loud roaring sounds fill the space. After a few seconds, the lights come on and the room abruptly returns to normal, as if a momentary glimpse to another, parallel world has appeared, revealing a dark underside to the familiar well-lit environment.
[19楼] 嘿乐乐 2006-07-18 05:08:03
He Weeps for You

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He Weeps for You, 1976
Video/sound installation
Edition 2: Collection of Pamela and Richard Kramlich; courtesy Thea Westreich Art Advisory Services
A drop of water emerging from a small brass valve is magnified by a video camera and projected on a large screen. The close-up image reveals that the viewer and a portion of the room are visible inside each forming drop. The drop swells and finally falls, and a loud sound is heard when it lands on an amplified drum. The entire room and persons in it are subject to the cadence of the falling drops, which continue in infinite repetition and reflection.
[20楼] 嘿乐乐 2006-07-18 04:59:22
[21楼] 嘿乐乐 2006-07-18 05:01:46
Man of Sorrows




Bill Viola, 2001
Color video on LCD flat panel
19 3/8 in. (h) x 15 in. (w) x 6 in. (d)
[22楼] 嘿乐乐 2006-07-18 05:06:44
Slowly Turning Narrative


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Slowly Turning Narrative, 1992
Video/sound installation
Edition 2: Los Angeles County Museum of Art; Modern and Contemporary Art Council Fund
A large rotating screen shows a man's face in black-and-white on one side and a series of color images on the other. One side of the screen is mirrored, and it reflects the viewer's own image, as well as the projected images which travel across the walls of the room as the screen turns. A voice recites various states of being and actions in a continuous repetitive chant. The entire space becomes an interior for the revelations of a constantly turning mind absorbed with itself.
[23楼] 嘿乐乐 2006-07-17 03:35:45


Heaven and Earth, 1992 [attachment=94741]
Video installation
Artist's Proof: Collection of the artist

两个木头圆柱从天花板和地面延伸出来,中间有个几寸的间隔。间隔中是两个突出的面对面不相碰的黑白显示器。上面的显示器里是个面临死亡前的老婆婆的脸部,而下面显示器里放的是一个只有几天大小的婴儿脸。画面十分的宁静,整个装置放在一个很小的空间里。由于两个显示器都是玻璃质料,他们会互相反映,老人和婴儿的脸会看似重叠包含再一起。

Two wood columns extend from floor to ceiling, separated by a gap of several inches. At this gap, the exposed tubes of two black and white video monitors are positioned facing each other and not touching. The upper monitor shows an image of an old woman's face on the verge of death, and the lower monitor shows the face of a new baby only days old. The images are silent and the entire structure is enclosed in a small room. Since the surface of each monitor screen is glass, the reflection of the image on the opposing screen can be seen through the surface of each image, with the birth-face and death-face reflecting and containing each other.

[24楼] 嘿乐乐 2006-07-17 03:47:56
Bill Viola
«The Threshold»







点击以下连接观看录像

录像 1

录像 2

录像 3

在这个装置里维奥拉关注的是观众对身体和精神的关系,沉思和行动及内在和外在的现实。制造了一个内在和外在方面非常清晰的空间,他建立了一个界限,在这里从一个现实象征到另一个现实象征的片刻将成为观众的中心体验及他意识的主要目标。
为了达到那个黑暗的空间,观众需要经过沉静,但是视觉上又面对非常(高声)的,川流不息的电子资料。在这里,他将会发现面对的是巨大、模糊的打在3个内部墙上的正在睡觉的只有头部和上半身的3 个人头图像。当观众观察这些睡眠者时会 “深入的聚精会神,他会被卷入了自己冥想的状况中,外在和内在的界限在这里交叉了,这个通道也扮演并解释了至上的空间形式。”两个领域都普遍存在于他们各自的方式:然而对维奥拉来说,这两方面也同时是这个世界的真正感觉,虚无的形而上的见界。


«In this installation Bill Viola is concerned with making the spectator aware of the connections between body and mind, contemplation and action, inner and outer reality. Creating a space with very distinct inner and outer aspects, he establishes a threshold sitzation, in which the moment of crossing from one symbolic reality into another becomes the central event in the spectator‘s experience and the principal object of his consciousness. [...] The spectator has to pass through the silent, but optically very ‹loud› electronic flow of data, in order to reach a dark space. Here, he will find himself confronted by the vast, blurred p_w_picpaths of the heads and upper torsos of three sleeping figures, projected on to three of the inner walls. [...] As the spectator observes the sleepers‘ deep self-absorption, he is drawn toward a state of meditative immersion in his own being. The threshold between outer and inner contemplation is thus crossed, and this passage is both enacted and comprehended in a consummately spatial form. [...] Both realms are ubiquitous in their own way; and, for Bill Viola, each is also, in the truest sense of the word, the vanishing point of a metapysical horizon.»

(source: Ursula Frohne in: Heinrich Klotz (ed.), Contemporary Art, exhib. cat., Museum for Contemporary Art/Center of Art and Media, Karlsruhe, 1997, p. 273f.)
[25楼] 嘿乐乐 2006-07-17 05:21:48
Fire Woman

2005


[attachment=94743]


Fire Woman (2005), is an image seen in the mind’s eye of a dying man. According to Viola: ‘when the flames of passion and fever finally engulf the inner eye, when the realisation that desire’s body will never be met blinds the seer, the reflecting surface is shattered and collapses into undulating wave patterns of pure light’. A large projection installation on a vertical screen with five channels of sound, Fire Woman opens with a darkened silhouette of a female figure standing before a wall of flame. After several minutes, she moves forward, opens her arms, and falls into her own reflection, disappearing beneath the surface of the image.
[26楼] 嘿乐乐 2006-07-17 05:23:02
Purification

2005

[attachment=94744]
In Purification (2005), a man and a woman independently undertake the ritual preparations for symbolic sacrifice required for their transformation and rebirth. This process methodically unfolds in seven contiguous image sequences across a time span of fifty minutes. The individual sections are: The Approach; The Arrival; The Disrobing; Ablutions; Basin of Tears; The Dowsing; and Dissolution. The images are projected side by side as a large diptych on two adjacent screens mounted to the wall.

在净化里,一对男女独自的采取为了转化和重生的象征着牺牲的仪式准备。这个程序有系统的7个画面每隔50分钟在邻近的画面展开,这些单独的部分是:接近,到达,脱衣,清洗,泪盆,浸水和分解。画面被安置在邻近的定在墙上的大幅双折画面上。
[27楼] 嘿乐乐 2006-07-17 04:25:39
[wmv]http://mfile.akamai.com/2699/mov/jpgetty.download.akamai.com/2699/getty_sm0116/violaemergenceE_056.mov[/wmv]
[28楼] 嘿乐乐 2006-07-17 04:42:44
Tiny Deaths, 1993

Video/sound installation



在一个完全黑暗的空间里放置3个巨大的投影。他们出现在感知的界线外,仅仅在黑暗中出现。人的轮廓慢慢的在一个吵闹的现场里形成一个黯淡的黑色轮廓。安静的,每一个模糊的声音都可以在每个画面中清晰的被听见。

Three large projections appear on the walls of a completely dark room. They exist at the threshold of perception, barely visible in the darkness. Human forms gradually emerge as dim silhouettes on a field of noise. Quiet, indecipherable voices are heard by each image. At random intervals, a light source slowly appears on one of the figures, increasing until the illumination rapidly accelerates to suddenly consume the whole body in a burst of saturated white light. The peak light momentarily illuminates the room and washes out the other two projections. All returns abruptly to darkness until one of the other projected figures moves through the same transformation.
[29楼] 嘿乐乐 2006-07-17 04:55:08
THE SLEEPERS

INSTALLATION 1992

[30楼] 嘿乐乐 2006-07-17 04:56:32
过往作品

Information 1973 - 30 min

Red Tape 1975 - 30 min

Playing Soul Music to my Freckies
A Non Dairy
Creamer
The Semi-Circular Canals
A Million Other Things
Return
Migrations 1976 - 7 min

He weeps for you 1976

Four Songs 1976 - 33 min

Junkyard Levitation
Songs of Innocence
The Space Between the Teeth
Through Mass Individuation
Palm Trees on the Moon 1976/78 26 min 06

Chott el-Djerid (A portrait in light and heat) 1979 - 28 min

Sodium Vapor 1979 - 15 min 4

The Reflecting Pool 1977/80 - 62 min

The Reflecting Pool 1977/79 - 7 min
Moonblood 1977/79 - 12 min 48
Silent Life 1979 - 13 min 14
Ancient of Days 1979/80 - 12 min 1
Vegetable Memory 1978/80 - 15 min 13
Hatsu Yume (First Dream) 1981 - 50 min

Reasons for Knocking at an Empty House 1983 - 19 min

Anthem 1983 - 11min 30

Piece for St John street 1983

Reverse Television – Portraits of Viewers 1984 - 15 min

The Theatre of memory 1985

I Do Not Know It Is Am Like 1986 - 89 min

The sleep of the reason 1988

The Passing 1991 - 54 min

The stopping mind 1991

Nantes Triptyc 1995

The sleepers 1997

The arc of ascent 1992

Stations 1995

Veiling* 1995

Deserts 1994 - 29 min

Memory Surfaces and Mental Prayers 1997 - 26 min 06

The Wheel of Becoming
Morning After the Night of Power
Five angel for the millennium 1999

The Passions 2001
[31楼] 嘿乐乐 2006-07-17 04:58:00
THE VEILING

1995





Images of a man and a woman moving through a series of nocturnal landscapes are projected into parallel layers of loosely suspended translucent cloth. They each appear on separate opposing video channels, and are seen gradually moving from dark areas of shadow into areas of bright light. The cloth material diffuses the light and the figures dissipate in intensity and focus as they penetrate further into the scrim layers, eventually intersecting each other on the central veil. Recorded independently, the images of the man and the woman never coexist in the same video frame. Only the light from their images intermingles in the fabric of the hanging veils.
[32楼] 嘿乐乐 2006-07-17 05:04:04
Anthem

Videotape, colour, stereo sound, 1983
11.30 mins



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Anthem is a post-industrial lamentation, structured on the single piercing scream of a young girl as she stands in the vast chamber of Union Station in Los Angeles. Viola relates this structure to the form and function of religious chants, particularly Gregorian chants (using a harmonic scale in a resonant hall) and Tantric Buddhist chants (ritual exorcism and conversation with demons). The original scream is extended in time and shifted in frequency to produce a scale of harmonic notes that comprises the soundtrack, to which Viola juxtaposes p_w_picpaths of materialism -- industry and the worship of the body, giant oil pumps and the beating human heart, cars streaming along a freeway and blood flowing through veins, modern surgical technology and tree branches in an ancient forest. The anguished scream cuts through the corporeality of the body and contemporary culture as a living organism. For Viola, the piece is a ritual evocation of "our deepest primal fears, darkness, and the separation of body and spirit."
[33楼] 嘿乐乐 2006-07-17 05:18:56
Buried Secrets, The Greeting


The Greeting 1995 naar Jacapo da Pontorno, Lavisitatione 1528-1529



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The Greeting, 1995
Video/sound installation
Artist's Proof 2: Whitney Museum of American Art, New York; Partial and promised gift of an anonymous donor P.4.95
A large projection screen mounted to the wall shows two women engaged in conversation when they are interrupted by the arrival of a third woman. A slight wind comes up and the light subtly shifts as the new woman arrives to greet her friend, ignoring the third woman. As the two embrace, she leans and whispers something to her friend, further isolating the other woman. With an underlying awkwardness, introductions are then made and pleasantries exchanged between the three. The image is composed in the manner of a traditional religious painting of The Visitation. The action is presented in extreme slow motion, allowing the nuance of every fleeting glance and gesture to become heightened and remain suspended in the viewer's conscious awareness. None of the women's actions or intentions are explained or become apparent, and the event remains an ambiguous, speculative gesture in constant circulation.

一个打在墙上的巨大投影呈现了两个正在谈话时的女人而谈话却被第三个女人打断。轻风吹过,一线光很巧妙的照在正迎接她的朋友的女人身上,忽视了站在后面的第三个女人。当前两个人拥抱后,其中一个女人倾向另一个人偷偷的在她耳边轻语,孤立了后面的女人。潜伏的尴尬,三个人最后才拥抱和问候。这个画面由传统的天降祸福为主题的古典画组成。整个画面的行动极度缓慢,让观众们有意识的观察每一个细微短暂的一瞥和手势。每个女人的行动和意图都没有被解释,整个事件是模糊的,循环的让我们去揣测。
[34楼] 嘿乐乐 2006-07-17 05:20:21
Isolde’s Ascension
2005



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[35楼] 嘿乐乐 2006-07-17 05:28:08
The Darker Side of Dawn

2005

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[36楼] 嘿乐乐 2006-07-17 05:42:24
Sweet light

1977



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Memory Surfaces and Mental Prayers is a collection of works that address the desire to transcend the perceptual and cognitive structures of experience. Viola describes The Wheel of Becoming as concerning "the notion of the parallel nature of reality, that is, simultaneous events separated in space." A mandala-like form, divided into four quadrants, unifies four events by four individuals in four separate spaces. These alternately converge and separate through timed camera movements, coincident actions and common elements of the landscape.

The title of The Morning After the Night of Power refers to a passage of the Koran in which angels descend from the heavens to impart the divine inspiration to followers. The central p_w_picpath of the tape is a blue vase standing motionless on a table. This object is framed by a dramatic interplay of light, shadow and movement, which is registered by a fixed camera over an extended period of time. Writes Viola, "As the condensed stillness of pure duration becomes activity, events hover at the edge of awareness until a final culminating action of transcendent liberation."

Using a camera moving along a predetermined path to create the effect of a simulated zoom, Sweet Light refers to the seduction of illumination, focusing on the phototropic vision of a moth. Writes Viola, "A moth emerges from a discarded letter as the spirit of a dead thought and -- after an attempted flight to freedom -- an individual appears, is inexorably drawn into the source of light, and consumed."
[37楼] 嘿乐乐 2006-07-17 05:44:27
Tempest (Study for The Raft)

2005

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[38楼] 嘿乐乐 2006-07-17 05:47:07
Dissolution

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[39楼] 嘿乐乐 2006-07-17 05:51:04
Remembrance

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[40楼]