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Salto Del Agua (00) by Christian Manzutto and Anton Vidokle at trans gallery/ Dana Yavin
Salto Del Agua is a ten-minute super 8mm projection that loops, in a small gallery. The projection reveals something that at first gaze seems like a white fence with square shaped holes in it. Through that fence the viewer sees a street view, showing people and cars passing by in an urban surrounding.
The sound used in the piece is a rather disturbing noise that flows in a wave that goes high and low. It is quiet unbearable. As the piece lasts ten minutes, the sound is the only element that would make the viewer wish for it to be over with.
Yet, once a longer look is given to the piece, it is visible that the fence is actually not a fence. It seems more like the exterior part of a building that is being assembled. The square shaped holes are really windows, so that the viewer can see some of the basic hardware used to build the building. Since the windows are glass filled, a reflection is created of the people down the street and of cars driving through it.
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During the entire projection, the camera does not move at all. The camera remains static and gives the feeling of voyeurism. That aspect of the piece is pretty interesting since a voyeur would most commonly observe someone's privacy, but here he would engage with the street life, that is evidently a public life. What would it take to feel like a voyeur on a street? And why did the artists decided to position the camera in such a way?
The piece gives the impression of general alienation from modern urbanism, represented by both a big building during its construction and by the cars passing by the roads. Those choices of subject matters indicate the artists' interest in that aspect of modern and contemporary society, for example urban progress that keeps expanding.
As mentioned earlier, the reflection in the glass of the people and the cars is confusing. Consequently at first they look as if they are on the same side of the building. The blur the cars have with them, expose the fact that they are reflected through glass. The interesting effect here is that once the viewer realizes that they are two separate elements, the artists' intention is revealed. It seems to be an attempt to create a two dimensional view combining the two elements together, that might represents the artists' point of view on the expansion of the role of the city and skyscrapers in our society. The people and the city, in the artists' eye, have become one.
Another effect created by the windows of the building is the physical division of our view on street life. It makes the projection almost as a puzzle made out of many pieces. Once every little square is regarded as an element, it would be more carefully observed and will finally receive more attention. Henceforth, it contributes to the voyeuristic feeling of the piece, giving a greater value to the small details. The problem is, however, that the details are unclear and won't allow the piece to be regarded as an assembled puzzle.
Although the sound was disturbing, it does contribute to the intention of the piece. It is supposed to make the viewer irritated, perhaps in an attempt to achieve sympathy among the viewers. The sound is similar to the one heard after experiencing a very loud noise. Maybe the one left in one's ears after spending an entire day on a construction site.
The ten-minute length of the piece is adequate in order to understand the intention I have understood from the piece. However it is a shame that the piece was presented in such a small gallery and that space was not taken under account at all. In fact, I thought it would be much more interesting if the artists would have exhibited some tangible objects, such as ladders or bricks, in the gallery itself in order to allow me to better engage in the piece. The piece as it is was not impressive enough and therefore I found it a rather mediocre one.
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