SCUM consists of a three-channel video projection, a 48 channel video sculpture in the shape of a cross hung from the ceiling, and a series of photographs based on the projection. The works thematically and formally converge and diverge in myrias ways. in Scumdance (2007), Ulrich constructs a rather dark and traumatic cinematic tableaus via three, larger than life-size video projections that are installed in a quasi U-shape configuration. This projection format anchors Scumdance architectonically and is the physical setting from which its multivalent narrative unfolds, the three different screens occasionally operate in a kind of call-and-response;sometimes the individual videos projected onto them are so seamlessly integrated that the work seems to transmogrify; other times they are higly diffenetiated yet manage to maintain an overall narative coherence. The presicion and seemingly effortless syncronixation of the three projections and the various ways the play with and off each other have an affinily with, for example, Mike figgi's Time Code (2000)

Share

Tweet