The Waters of the Mind
Floodsongs by Mary Lucier
Museum of Modern Art, New York City
Garden Hall Video Gallery
March 13-June 20
Andrea Sorkin
Throughout her career, Mary Lucier has studied the relationship between landscape and memory as a model for human behavior. Floodsongs is a video installation now on exhibit at the Museum of Modern Art. Using tape shot in Grand Forks, North Dakota after a flood that devastated the community in 1997, Lucier draws an analogy between the "ebb and flow" of the waters and the varying degrees of human reaction to catastrophe. In her own words, Lucier strives to "get at the largeness through the particulars." By juxtaposing interviews with seven flood survivors with images of destruction as well as some stray articles of salvation, Lucier effectively demonstrates the winding, yet indelible strength of the human spirit.
The gallery exhibition itself functions as a model of the Grand Forks community during the time of the disaster. Lucier's mechanisms for presenting her content make attendance at the installation a dizzying experience. By creating such a mood, she is able to convey the confusion felt by the townspeople at the time of the disaster, thereby placing the viewer at the scene.
Hanging from the back wall are three objects which were salvaged from the flood. Spiritually, their presence emphasizes the human need for preservation. Technically, these still objects anchor the viewer in time and place in a surrounding that is otherwise infinitely mobile.
Looking straight ahead to the front wall, a projection screen displays footage of the wreckage. The camera slowly pans through scenes of ruined homes and community buildings. Adding to Lucier's sweeping camera moves, she uses dissolves and fades to make the transition between sequences. The fluid audio track complements Lucier's style. Reverberation is added to all vocal tracks which are then further distorted in a mix with a resonant ambiance, resulting in an overall musical texture. The discontinuous track constructively merges, stops, moves forward, and is also subject to adjustment in volume and clarity. Both the audio and visual components of the installation are seemingly random yet are actually strategically arranged to mimic the behavior of the dangerous and relentless waters that took Grand Forks. For the viewer, visceral response is meant to simulate the sensation of being amidst the turmoil.
Three monitors float from each side wall and contain footage from interviews with townspeople. As a study in human behavior, these interviews are an integral part of the installation. In a room containing numerous reminders of the destruction, these images emphasize human survival. They are a foray into the psyche of a group of individuals as they each engage unique methods for adjusting to the aftermath of the catastrophe.
On the immediate right at the back of the gallery, Lucier captures the behavior of a young girl as she tries to make sense of the flood. Her wide eyes define her need to look forward yet her quiet, contemplative demeanor show that she is struggling to do so. She speaks of moving to a new neighborhood where she no longer has anyone to play with. Her simple desire for company reminds us of the fundamental human needs that are often replaced by the superficial need for material things.
Footage of an interview with a priest portrays a man who is devoted to his role, regardless of the circumstances surrounding his existence. His grand, beckoning gestures display his continued loyalty to his mission as a preacher. His function in the community, as well as in the installation, is as a symbol of faith.
On another monitor, we watch as a couple tell their story. Their moods shift as the camera angle focuses back and forth between them. This interview depicts circularity in human reaction. By moving from person to person, the camera both mimics and follows this progression.
On another monitor, an elderly woman first comes across as dreamy and somewhat delusional. Her glassy-eyed appearance seems to indicate her denial and/or dismissal of the flood that attacked her neighborhood. Yet, at her age she has probably learned to let go of what she cannot control. Her purpose in the installation is to remind us of the human need to forget.
On the other end of the spectrum, a middle-aged woman displays the remnants of her mother's wedding veil and also reveals possession of her father's camera. Throughout her interview, she relays details of her family history and upbringing. Her purpose in the installation is to signify the importance of memories and reflection during a time of devastation.
Finally, a heavy man dressed in black sits with his arms folded across his chest. His voice is as stable as his positioning. His Buddhalike image serves as an icon for stability.
The separate behaviors of the above characters delineate the broad spectrum of reactions to one event. By her own admission, Lucier constructed Floodsongs so that it would also elicit mixed responses. She acknowledges that she hoped to both "seduce and repel" a variety of viewers. While attending the installation, it became apparent that she had accomplished this goal. Some participants were indeed drawn into the work and made an effort to spend time with the elements. Many even attempted to weed out and decipher the interviewees' spoken words. Others found the experience too overwhelming. These individuals remained at the back of the gallery for a brief period of time and then, abruptly departed. This dance ritual mimics both the undulating nature of the flood and the reaction of the townspeople to its destruction.
Though the inability to understand the survivors' speech often proves frustrating, Lucier is more interested in defining a scenario by placing the viewer in it than by constructing a linear narrative. It does, however, become difficult to recognize each character's significance without at least hearing some of their commentary. The installation was originally intended to be presented in a larger space than was provided at the MOMA. Perhaps in a more adequate arena, the audio from the monitors would resonate with greater clarity. Regardless, Lucier is successful in creating an environment that captures the displacing essence of the flood at Grand Forks. Whether positive or negative, viewer response completes Lucier's intentions.