The Apparent Trap

Julie Zando

1999 | 00:24:00 | United States | English | B&W and Color | 4:3 | Video

Collection: Single Titles

Tags: Art History, Psychoanalysis

This work attempts to further the critical dialogue surrounding the strategies of repetition and re-enactment. The Apparent Trap is a work that reminds the audience of the psychoanalytic implications of these strategies. It examines Walt Disney’s The Parent Trap (1961), a story in which twins decide to switch identities. The conceit of identity, the violence that erupts when one is confronted with one’s mirror image, and the “trap” of identification with the Other are all themes explored by re-enacting selected video art that speaks to these issues. Vito Acconci’s Pryings, for example, is reinterpreted as a search for recognition rather than simply as a rape scenario. The subject seeks recognition by forcing open the eyes of the other. Ultimately, The Apparent Trap contributes to the art historical dialogue exploring the dual nature of re-enactment, as both radically emancipatory (Benjamin) and tragically limiting (Lacan).

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Stream Single Title

Title Awards Image Major Exhibitions/Festivals Description
Sea in the Blood

Equal First Prize for Best Male Short, Inside Out, Toronto Lesbian and Gay Film Festival

Sea in the Blood

OutFest (LA, CA.), 2001

Rotterdam International Film Festival (The Netherlands), 2001

 

Athens Int'l Film/Video Festival (OH), 2001

 

 

Sea In The Blood is a personal documentary about living with illness, tracing the relationship of the artist to thalassemia in his sister Nan, and AIDS in his partner Tim. At the core of the piece are two trips. The first is in 1962, when Richard went from Trinidad to England with Nan to see a famous hematologist interested in her unusual case. The second is in 1977 when Richard and Tim made the counterculture pilgrimage from Europe to Asia. The relationship with Tim blossomed, but Nan died before their return. The narrative of love and loss is set against a background of colonialism in the Caribbean and the reverberations of migration and political change.

"Sea in the Blood was to be a meditation on race, sexuality and disease, but after working with the material for three years, it was the emotional story that came through. It's hard to work with such personal material, but in the end the work takes on a life of its own. 'Richard' is a character. Because of the subject matter — disease and death — I wanted to avoid sentimentality. I'd like the audience to think as well as feel."

— Richard Fung