March 20, 2012

Moving Image Fair

Dedicated to video art, this fair was co-founded by Murat Orozobekov and Edward Winkleman. My photos here. Art Fag City has collected 7 of the vidis here, full-length though compressed; and Hypoallergic has a helpful review of this and the Independent Fair here (I expect to add a post on the Independent here soon).

Moving Image included works by 31 artists, some very well-established. As a videophile, I'd have been happy to see much more; but with so many fairs and so little time, I spent only the better part of one day there, and wished I could have stayed longer.

I was intrigued by Daniel Phillips' River Street (2012), three projections onto three large, suspended concrete slabs, shot in the vicinity of an abandon elevator tower that became his studio for the duration, and glad to see Martha Wilson's now-iconic "worst fear" in the virtual flesh, I have become my own worst fear/ Deformation (2009/1974). I'm always interested to see Valie Export's work, and her Ein Perfektes Paar oder die Unzucht wechselt ihre Haut/A Perfect Couple, or Indecency Sheds Its Skin (1986) was, among other things, a blast from her prescient past. Alex Prager's exquisitely, absurdly cinematic Despair (2010) seemed to allude to persistent dilemmas re- femininity. AES+F's Allegoria Sacra (2011) was exquisite, as was the work I saw in Venice, Last Riot (2007; see visuals starting here), hypnotically slo-mo yet possibly even more visually riveting; and I very much liked Kate Gilmore's Built to Burst and Julia Kul's Passport Reading.

I regret not getting photos of Jaan Toomik's three works, in which: (1) a man hanging from a rope strung high between two trees plunges to and through the grass beneath him; (2) a man in a wheelchair rolls himself along the bottom of a full swimming pool (Seagulls (2004)); and (3) a naked man, his genitals tethered by a rope to a stake in a muddy field, circles the stake, facing outward, with his genitals pulled backward between his legs, with apparent strain.

And there were many other fine works, mostly installed reasonably well, which is a challenge for most video exhibitors; I look forward to future iterations of this fair. I just wish it were up longer . . . perhaps the organizers should consider that, if Moving Image opened a few days before the other fairs, it could have us almost to itself on Monday and Tuesday, when so many other art venues are closed.

For my posts on other fairs or exhibitions seen in NYC during Armory week, see here (5 down, 4 more to go).

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