Amplified Intimacies

Interactions are a daily occurrence in human life. It is essential for us to utilise all our senses to communicate and react to events surrounding us. In artistic installations, interaction is part of the procedures or tools available for the artist to convey meaning through their work. The “Amplified Intimacies” explores the functions of interaction in art. By including such connectivity between viewer and object, artists risk scrambling their message. Although artists displaying their work at the Oboro gallery believe their work incorporates interaction well, this artistic articulation may in fact be detrimental to the artist’s intention. By examining the models of interaction present in works exhibited it is possible to determine their faithfulness to the title “Amplified Intimacies”.

In some cases, artists attempt to generate interaction between viewers of their piece. In the case of the International Dance Party, it is only through activity from a group of would-be dancers that this work unleashes its full potential. The work utilizes interaction to produce an ambiance. This project’s major element is the concept of an autonomous mobile party machine. The viewer desires more activity as the system progresses through phases, and, therefore, craves more human involvement. In this respect, interactivity is integral to the artist’s production.

Group interaction is also present in Fabulous. Whether intentional or not, participation for the game style interface encourages users to communicate in a real world rather than in virtual space where the game takes place. This installation incorporates its environment to attempt producing a whimsical world. The inclusion of artistic process on an adjacent wall gives interactors a glimpse in the artist’s mind as well as hints to complete the game. While each of these techniques is engaging in encouraging the viewer to explore aspects of the work, their combination does not create a holistic experience. Interactivity may in fact be distracting users from the intent of this piece. The appeal of the ball interface and the familiarity of the projected image create an instant link between user and art but its execution may diverge from the creator’s intent.

Transects Sonores is initially a mysterious installation. The user is presented with a screen displaying a map, which is perceived to be where interaction takes place. In fact, the intended location for this behaviour is inside a housing created for an old chair equipped with a sliding control stick. Once the user overcomes this initial confusion, he or she is in control of the box’s sonic landscape. In contrast to simply playing these sound clips in orderly fashion for reception by the viewer, the artist gave up the controls. Although this may add meaning to the piece, it does not emphasise or unite elements like the external video display or the use of a chair to navigate a soundscape. The chair and slider are but a new interpretation of a device like a mouse.

By examining three artworks from the “Amplified Intimacies” exhibit; it is possible to begin deciphering the incorporation of interaction in artistic installations. Artists often hope to achieve a new level of engagement with the gallery goers who are continuously curious about peering into the world of artistic creation. For us, it is difficult to determine if our experience with interaction is contributing to an intended signification or simply a construction of our ever-learning mind. In the end, it is possible, of course, that the artist’s intention is never correctly interpreted and any engagement from the viewer demonstrates the degree at which art can affect society. 

In response to the visit to : Amplified Intimacies – Exhebition at Gallerie Oboro