At the Swing Shoe Shop, the spectacle of disarmed museum visitors caught up in a frenzy of nostalgic consumer desire was accompanied by a floor projection of swing-dancing feet, showing people how to use their new shoes. A live swing dancing workshop opened and closed the exhibition. Footwork Inversion‘s video floor projection is also a precursor to the work-in-progress 16mm film installation Syncopation.
On 26, Sep 2012 | In moving Image | By selene
Stewardess Cura is seduced into isolation by her vintage fridge. Within the isolated system of her flat, Cura rids herself of excess baggage and steers clear of inner turbulence while devoting herself to the ritual of her security demonstration. The gravity of the situation increases when the Frigidaire gets between Cura and a young suitor.
Imperial Aircraft is an installation of the cross-section of an airplane cabin with branded cushions and seat-back monitors showing commercials for domestic appliances from the Imperial (1957) and Sheer Look (1956) campaigns. (The videos are in the public domain).
The interactive installation Lipstuck invites the viewer to use an engineered lipstick to `scratch´ through a video loop where a filmically hysterical woman applies and re-applies her make-up in an endless loop. Lipstuck‘s video sequence shows the artist acting out `La Toilette´. After emerging from the bathtub, she puts on faces in front of the mirror and becomes fixed in the repeated motions of making herself up. This ritual culminates with her returning to the tub in tears – only to emerge again: stuck in an endless loop.
Lipstuck‘s synchronous video and sound editing produces a musical loop, which the viewer/user can scratch through in real-time, frame by frame. The sensuality of the fetishized lipstick-control and video scenes compels the viewer/user to exploit the intimacy of the scene as he manipulates the loop, amplifying the pitch of the hysterical ritual.
The observations of discreet viewers watching the user‘s implication in the voyeuristic interaction makes for humorous meta-commentary.
User Guide to the Semiotics of the Kitchen re-packages Martha Rosler’s 1974 feminist polemic Semiotics of the Kitchen as a glossy, sexually provocative interactive puppet theatre set in a 1950’s style kitchen. Standing at an immaculately sterile media kiosk, visitors could click through a-z on a customised white keyboard and command the performer through a series of quirky semiotic interpretations of the use and meaning of the retro kitchen utensils.
The LolliPop Portraits are a series of 12 video portraits of women from the ages of 4 to 84, each consuming a lollipop in their own idiosyncratic way: some wistfully savouring the intense flavour for three quarters of an hour, some crunching down to the lollipop stick in under two minutes. Having been left alone with only the camera and their lollipops, the portraits’ subjects strip away layers of preconcieved sexual metaphor and self-conscious performance to reveal moments of breathtakingly beautiful introspection.
Visitors to the show have the opportunity to choose a lollipop and sit down in front of a live video camera to perform their own real-time lollipop portrait.