Video, Gallery and Performance Installations
Also seeking to stimulate the viewer by soliciting personal engagement is Thomas Riccio and Frank Dufour’s The Invention of Memory, where the artist pair employs multiple media to create a quasi-kinetic receptacle for “vocal and visual memories.” A mystical-looking outhouse of sorts, their contribution echoes Rauschenberg’s visceral assemblages of common materials.
Various items flank each side of the tall wooden unit, while its backside supports a flat screen computer monitor with a jumpy black-and-white video; the receptacle for the viewer’s memories hangs on the structure’s right side.
Adding to the mystery of the work, the edifice’s tattered front door is ajar, revealing a video projection on the interior floor that is identical to that playing on the exterior backside. Fraught with associations, the ambiguity of this object - experience perhaps speaks to the inscrutable nature of producing meaning in the art world.
Art Lies, Dallas
I spent a good deal of time digging into the previous work, biographies, and available literature and video surrounding the work of these two UTD professors with the hopes of coming up with some pithy sentences to sum up what to expect from this exhibition. Given the artists involved that was a doomed-to-fail proposition.
Both are rather delightfully uncategorical, with cross-disciplinary backgrounds defined by eccentric expertise. You may remember Riccio from Flesh World, his West Dallas warehouse-staged theatrical piece, but I’m curious about his research into primitive modes of performance and robots.
And you’re likely familiar with Defour if you have come across his sound installations at the Dallas Museum of Art, but I’m curious about his considerations of the nature of time in the context of virtual realities.
This collaboration promises to combine “digital media with site-specific design to create an existential drama – a performance that features the viewing public as lead actors.”
Peter Simek, D Magazine