The double vision mesmerizes, as the wind pushes across the water and shimmers across the screens. When Weerasethakul trains his lenses, he mixes in layers of motion—the irregular undulations—that derange transparency and move in opposite directions to the school of minnows darting just beneath the surface. Writing now, it seems given that the worn regulations which once shored up and produced a specific viewing subject were limiting, yet still they are embedded within the discourses that adjudicate moving images. These artists make a plea for adjusting our focus, showing new ways to expand our perception by doubling it, blurring it, slowing it, layering it, and flooding it, and teaching us to practice fluency.
PIPER MARSHALL , and or, critic ersity) is an educat (PhD, Columbia Univ , xhibitions at collecting institutions ed on e curator. She has collaborat , ofits. Most recently , and nonpr , private foundations educational spaces ormed ransf ideo T Signals: How V eam for orial t ed on the curat she serv at The Museum of Joan Jonas: Good Night Good Morning and the World ork. t, New Y Modern Ar
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