“This Moment” by Stefanie Batten Bland – published by @guggenheim on the 2nd of August 2020. https://www.instagram.com/tv/CDWic0EjWMT/
Provide some context on the visual content by summarising the content, the context of publication, and the audience it targets.
The completely black and white video begins with the audience seeing an indiscernible figure moving behind a sheet of PVC plastic. The figure is very erratic in movement as the camera pans closer toward it. We then see a sequence of shots of people interacting with what seems to be a bubble of PVC plastic. One attempts to hold the roof up from the interior before letting it fall, one claws curiously from the inside attempting to find an escape. Two characters are then seen, exploring each other in an unprecedented fashion from either side of the plastic bubble Multiple shots of the characters entangled with the plastic, wrestling with being inside and outside of the bubble and trying to escape flesh out the video while whirring sounds that crescendo and decrescendo complete the mise-en-scene. The characters finally find each other and physically connect, from here the video transforms to show oversaturated colour. We see the bubble deflate and are then introduced to the outside world, seeing the outlook from the apartment the bubble was confined to. As explained by Batten-Bland in the caption for the post, “the transparent use of PVC interrogates questions surrounding the definitions of safe space, indoor/outdoor, and the weight relationships of oppression.”
The video was posted to the Guggenheim’s IGTV, exposing it to its 2.5 million followers. This piece was created for the Works and Process series, a virtual commissions series funded by the Guggenheim that features new video works filmed in quarantine.
This piece attracts any audience, especially those that can relate to the current lockdown restrictions that are occurring over the world as well as people that have experienced the feeling of oppression. Being created by an up and coming multidisciplinary artist, a similar audience may be targeted in order to bring attention to the Works and Process initiative of the Guggenheim.
How was the visual content made technically?
The video looks to have been shot in one of the artist’s apartments on a handheld camera. The video takes a 16:9 format to fit with the affordances of optimal publishing to online platforms.
There is a lot of camera movement within the piece which allows the audience to experience interaction with the PVC sheet and immerses us further. We experience many different textures from the subjects’ hair, creases in the PVC, the hardwood floor and the subjects’ skin. The human interaction with the plastic os also heavily explored, showing each subject pressed up against the taut plastic or scrunching and folding it when loose.
There is an accompanying score that was composed by Grant Cutler, especially for this piece. The soundscape-esque score involves static-like sounds intertwined between whirring strings and a rapidly pulsating resonance.
How does this piece of visual content fit into the art galleries media and communication strategies? What is it trying to achieve?
The Guggenheim is an art museum based in New York City. As a contemporary focussed gallery, its communication strategies are similar to those of MoMA and Tate that I discussed in my global research task. Being based in New York City and o having such a diverse audience, it is imperative that the Guggenheim follows a socially and politically progressive communication strategy.
This piece fits in with the Guggenheims media and communication strategies by addressing and exploring current thematic issues of its community. The piece as explained earlier deals with the ideas of safe spaces, the COVID-19 lockdowns and relationships with oppression. The social and political issues of the BLM movement and queer liberation are being addressed by supporting, funding and showcasing Stefanie Batten Bland, a queer artist of colour.
This media piece also fits into the Guggenheim’s media and communication strategies by building the brand awareness of its Works and Process initiative. Using its large follower base to draw attention to another venture by the gallery allows for more young people to be exposed to and possibly participate in the Works and Process commissioned series. Tieing into this, the piece is trying to highlight that great artistic endeavours can be completed while in a locked-down state and encourages artists to dive deeper into the idea of virtual art.
Why did you choose this particular work?
I was originally attracted to the particular work from the cover image that was posted to @guggenheim’s feed. The hand pressed against the taste plastic was an interesting visual for me and the introductory shot of the incomprehensible figure made me interested in watching the piece unfold.
I chose this particular work as I thought it was just really cool, from the concept to the execution I really like the softness of the aesthetics contrasted with the idea of being trapped in a plastic bag. The movement was also something that drew me in and consequentially led me to further analysis of the work. As a dancer, I am immediately attracted to works that incorporate movement and dance-like sequences.
I also thought the whole piece was very indicative of Guggenheim’s brand and highlighted talent from a multi-disciplinary background that usually would not be typical to Guggenheim. The director (who also stars in it) being a queer woman of colour led me to choose this work as I love to explore and celebrate their work.
What do you find inspiring about the content and form?
What I found inspiring about this piece is very parallel to the reasons I chose to analyse it. I am heavily inspired by works that incorporate movement and dance elements without it feeling forced, or centring wholly on this and that is something this piece does incredibly. I also found the exploration of textures super inspiring, the ways in which the plastic sheet was interacted with and manipulated creates shots that seem like artwork. It is an extremely innovative way of using this material and inspired me to take my movement exploration past the realm of bodies and experiment with other materials.
The overall composition of the piece was another aspect that I found to be very inspiring. The way in which the audience interacts with the characters and the miss-en-scene and vice versa was really cool and immersive. The combination of long cerebrate shots with short and travelling shots allowed the mood of the piece to become synonymous with the intentions of the piece.