Interactive Art Installation:
tHE FALSE MAGRITTE
THE FALSE MAGRITTE contains both participatory performance and interactive installation which references Belgian surrealist artist Rene Magritte. THE FALSE MAGRITTE stands on the purpose of challenging audience’s preconditioned perceptions of reality - Magritte’s surrealist within his numbers of “witty and thought-provoking images”. THE FALSE MAGRITTE extends art scene from where the art piece finally presents to the places where it produces and grows. 32 volunteers are invited to perform “arrogant” in front of camera by using their facial expression, body movement, and stage property. Their performance is collected, edited and played as idiosyncratic, symbolic, and expressive materials in the interactive installation - as one object of conversation - facing directly to the audience. In this work, Magritte’s “canvas” and “symbols” are being “stage” and “props” which are involving the audience in dynamics. In addition to thinking about diversity of stitching, penetration, and even conflict between audience, artwork, space, and time, THE FALSE MAGRITTE hopes to explore how performativity and interactivity, either for meaning-maker or/and for meaning-encounter, could integrate new forms of artistic expression or/and audience experience “beyond” traditional alignment and presentation. Moreover, THE FALSE MAGRITTE tried to dig out how performativity and interactivity could make artist and audience from being two separate roles of making/viewing an art piece to being together creating and blooming an art experience.
The Mysteries of the Horizon (Les mystères de l'horizon) René Magritte, 1955 50cm*65cm oil on canvas
The Horizon of Arrogant Within Performativity still image/gif image from video student assistant: Zhao Weijia, Zhang Yijun, Yan Zhuo, and Tang Qiurui