I’d been promised “enchanted landscapes, fantastic worlds, and strange encounters” and had already voyaged through wartime Italy, haunted hallways, Chuck Close’s art studio, and a seedy peepshow. Then I collided with all three at once. A sedentary carousel of animals and imps suddenly spun into a 3D zoetrope where the fiendish tiny people tried to stab giant snails and jumping fish and smash a bird’s eggs, while butterflies thrashed away to escape their missiles. A strange whirring, creaking noise accompanied the primal scene. It was perfectly otherworldly.
Entering Japanese artist/composer Ryoji Ikeda’s new installation “the transfinite,” which is currently showing at the Park Avenue Armory, feels like sitting inside of a computer.
The Brooklyn Museum’s newly renovated Great Hall is filled with pirouetting abstract figures made of billowing cloth. This architectural ballet is Brooklyn architecture firm Situ Studio’s reOrder, an installation inspired by hoop skirts, but blown up to enormous proportions. reOrder is now on display at the museum, through January 15 2012.
Video art is still in the process of establishing itself. Despite the fact that art has been created through the medium over the course of the past century, it’s still hard to pin down what forms video art can take, and what vocabulary we use to talk about it. At New York University’s 80WSE gallery, a current exhibition entitled By Chance, a Video Show, marshals together video art in its multivalent states, from video-as-installation to video-as-flat surface to video-as-collage. Artists including Alejandro Cesarco, Jason Varone and Nayda Collazo-Llorens explore the different possibilities of video art.