Many thanks to those who came to the exhibit opening of CON.CURRENTS: Points of Sublation at the Bulwagan ng Dangal, UP Diliman last September 8, 2017.

From Left to Right: Reflex Gotangco, Angela Lawenko-Baguilat, Dayang Yraola, Roselle Pineda, Loujaye Sonido, Sarah Samaniego, Jared Jonathan Luna

Notes from Curator, Dayang Yraola:

Installing Concurrence

For this project, I had two major tasks: one, to display videos of movement performance captured on a rural site; and two, to provide a set for a movement performance of the same performers in the video.

In solving these tasks, I have taken the following steps: First, I have decided that I want the viewing to involve the body of audience, such that they would not only be staring straight on a screen. Viewing would require then to stand, stand diagonally, sit, look up, look down, pan from left to right, or vice versa, among others. This is my way of attempting to kinesthetically remind the audience that what they are watching is a bodily narrative or even a sensorial experience.

Second, I choose a display method that may also serve as a staging set for a movement performance. In this case, I had to consider that the videos are displayed in the same place as the performance. I also had to consider that possibly the live performers are the same as those on the video therefore the nuances of action might be the same or at least similar. For these two factors, I have no control of, but these are factors that makes intermedia performances exciting. To control them, therefore, should not be the main objective but to allow them to be adaptable medium that can accommodate another media in the same creation field. Simply put, I explored how the video can be viewed as part of the live movement performance and vice versa.

For the exhibition modules, I have chosen television sets, projectors and scaffolds because they are familiar, visually basic and industrial which may suggest being devoid of emotions, even cold, or unimportant. I find this quality enigmatic when juxtapose to the sensorial and emotional content of the videos. The lay-out of the modules on the exhibition floor prioritizes seriality rather than comfort or ease in moving from one module to another.

Sound is also a consideration. I distinctly decided not to use headphones. Headphones can create distance or sense of exclusivity; while the main point of the exhibit is to create cohesiveness between the materials. Actually, allowing the sound of one video to blend into the other, discretely, achieves this goal of cohesiveness.

With this installation, I have deconstructed the unmovement of the videographer vis-à-vis the movement of the lens as it captured the moving body of the performer, and translated it into the movement of the audience while viewing the movement performances. In the end, this is not simply an exercise of curatorial translation—translating the site where the video was taken, or translating the shooting into viewing, this installation here today at Bulwagan ng Dangal is another interpretation of the same materials, a different production, that explores the ability of the body to engage with various dimensions of movements and unmovements.

Dayang Yraola

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