Mirage—an optical illusion created by atmospheric conditions—is the title of a Joan Jonas performance from 1976. In the dimly-lit space, the work now consists of videos, drawings, sculptures, and documentation of the original performance.
The videos showcase Jonas drawing and erasing a waning moon, labeling the intersections on polygrams, and making various hopscotch patterns. These are the mysterious and eccentric rituals that Jonas explores, inspired by rites of different cultures; for instance, the “endless drawing” of the moon references the New Guinean tribe funerary rites.
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| Gerhardt, R. (2019, October 21). Installation view of the gallery "Joan Jonas's Mirage" in the exhibition "Collection 1940s–1970s" [Photograph]. Retrieved from https://www.moma.org/calendar/galleries/5149? |
Viewers might find themselves at a loss to understand the strangeness that fills the room. However, upon close observation of the repeating ceremonial actions and the other objects in the room, a series of transformations occur. The elements from the videos echo with the drawings on the chalkboards scattered throughout the room, marking the transition from one medium to another. A group of tall, skinny steel cone sculptures is placed adjacent to a video of a volcanic eruption, and another cone lies on a table along with several props from Jonas’ videos. Viewers are invited to move around the space, to identify how each object can reside within one another. One second the cones are the erupting volcanoes, and another they transform into the missing piece of the waning moon, or a large scale ring toss game.
| Gerhardt, R. (2019, October 21). Installation view of the gallery "Joan Jonas's Mirage" in the exhibition "Collection 1940s–1970s" [Photograph]. Retrieved from https://www.moma.org/calendar/galleries/5149? |
As the viewers gradually perceive their surroundings, their physical presences become part of the ritual, serving as the link between each of the elements. Again, Jonas demonstrates her ability to abstract and merge the seemingly dissimilar components in her work. Like a mirage, the correlation between the performances and objects are intangible and fleeting, but at the same time bonded together by the rituals and transformations.
I love the detailed description of the work, it really portrays what it is like being in the room and watching the video loops and objects. However, I wish you put more personal inputs. It doesn't have to be very in depth, just how you felt when you were in this environment. Especially at how you said the elements "make the rituals immensely playful" and "place the viewers as part of the ritual", maybe talk a little about how you came to this conclusion
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ReplyDeleteSame to me I like your description of the details of this piece. For me there is confusion. I heard the comment from Prof. Ann Messner, she thinks it’s a wrong installation that distorted the original intention of the artist. MoMa manipulates the art piece and installs the artwork side to the wall. But as performance art, it’s designed to let the audience walk around it like a circle, not a passway go through it. I don’t know which version is better, but the black painted wall do arise the mysterious atmosphere in this room.