Alison Nguyen's Perforation, Ellipse at Storefront for Art and Architecture featured in the New York Times, reviewed by Travis Diehl.
Linking the multiple screens of Alison Nguyen's disjointed video installation is a projection of a stark scene: an archer on a rooftop at dusk, sending arrows off camera. It suggests the threatening Surrealist notion of an artist firing blindly into a crowd. The rhythmic snick of the arrows seem to cue changes on the other screens.
This tension and release point to the disquiet underlying the other footage—choppy shots of workers killing time in a warehouse (from "Aisle 9," a theatrical film by the artist) and recent clips of bolero songs in Vietnamese pulled from the internet. When the North Vietnamese government banned this decadent Western genre, bolero performances went underground; apparently, risk only concentrated their emotion. —Travis Diehl
Text courtesy of the New York Times.
Learn more--
Alison Nguyen: Perforation, Ellipse | New York Times
