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T h e M u s e u m s 

As a first step towards this resolution we chose to confront ourselves to some other
hypothesis of resolution (H). The group headed to theTate Modern. Our curiosity for this
place, this synthesis (S) of modern art seemed like the right place to find out more about
the process and the material that we have been assigned. 

The first work of art that caught our attention was Tiny Death by Bill Viola.
The body of the spectator find itselves in a totaly black box where the senses have to
split and investigate. The eyes couldn't tell the sort of volume they  were in.  The ears
were solicitated by a multitude (x) of entangled sounds to witch the brain couldn't atribut
a concept to. 

Then sudenly a man appeared on the left side of the cub we where in and in a fast and
sunden flash of light he vanished to reapear a few seconds (s) later on the oposite side.
Our material beeing light, our process beeing cutting and our performer beeing Es Devlin
there was a link to make.
This mystical light that enabled projections of poeple to appear and dessepear, this light
that cutted space and time to creat this magic (or mystic) trick was aperformence close to
some illusonist.

Then we found some pieces that used the process of cutting. Manolo Millares,William Green
and Lucion Fontana's work caught our intrest. They all approach cutting deferently but when
looking at it there is a paradoxe that facinated me: 
Cutting creates a space, an emptiness trought destruction.

© Camille Clara Yunn Liu, all rights reserved