Social experiments are usually viewed within the realm of science, but what happens when the scientists conducting the research are artists? Often, the results are a form of art that creates a powerful view into humankind's complex and often contradictory nature.
"Acting Out," on view at the Institute of Contemporary Art/Boston (ICA) through Oct. 18, is an innovative exhibition that explores the boundary between art and real life. This show displays films by five artists from across the world, each of which takes a unique look at relevant social issues affecting people today. The subjects and approaches of these works could not be more different, ranging from poetically contemplative to disturbingly chaotic, but the connection between all five remains strong. In each, the artist features real people, rather than actors, as the subjects of the work in unstaged situations. The subjects are forced to interact in various social settings that are sometimes harmonious and other times confrontational.
Due to lack of space and insufficient sound barriers, all of the films in the gallery are arranged to interact with each other. Although this was probably not the aim of the curator, it creates an emotional effect on the viewer, making it impossible to completely concentrate on any one video. This division of attention is sometimes irritating, but also interesting because it creates a sort of unity between such diverse works as a video of Croatian schoolchildren learning a popular American song and another that features various Polish groups with clashing beliefs as they physically destroy each others' political and religious symbols.
Some of the films employ techniques that give focused attention to artistic detail, such as Javier Telléz's video, "Letter on the Blind, for the Use of Those Who See" (2007), which depicts six blind individuals as they experience touching a live elephant for the first time. He creates stark contrasts of close-up shots of the people as they take turns tentatively running their hands across the enormous beast's rough skin with panoramic views of the desolate New York City setting.
This image is stylistically enhanced by the fact that the video is shot in black and white. The lack of color makes the viewers focus their attention on the blindness of the subjects. While the viewers can see and hear the piece, the participants have a radically different and possibly more complete experience of this curious situation. In addition, Téllez's use of voiceover to allow the subjects to describe their experience of blindness on a day-to-day basis is touching and eye-opening, helping bridge the gap between "us" and "them."
Other videos like Scottish filmmaker Phil Collins' "He Who Laughs Last Laughs Longest" (2006) have a much more raw quality in their style and editing, as well as their effect on the viewer. Collins' piece depicts a contest that the artist set up in which participants compete to see who can laugh for the longest time. Due to the competitive nature of the game, the laughing takes on a forced, almost frightening quality. It is no longer natural or fun, and instead becomes exhausting to the point of tears. The loud, clashing sound of so many people laughing at once in conjunction with the subjects' rocking movements and stomping feet make them appear animalistic. This work is a product of Collins' interest in the contrast between "authentic" and "posed" selves, and how popular culture (game shows, for example) can make people act in extreme ways. Unlike Téllez's thoughtful, meditative piece, this work is a sensory overload that turns laughter into an unnatural action.
Seeing these videos allows viewers to appreciate the connection between science and art. Although these experiments do not seem to prove anything, they certainly inspire careful consideration of the way in which people interact in today's world. Moving from one room to another, viewers experience a range of emotions from sympathy to nausea, and hope to despair. The tension created between artist, participant and viewer is constant and powerful. It seems that in this exhibition the ICA has managed to present a type of art that is something everyone from art enthusiasts to psychologists can enjoy.
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Acting Out: Social Experiments in Video
At the Institute of Contemporary Art, through October 18
100 Northern Avenue, Boston
617-478-3100
