ABSTRACT

This article explores ecologically-inflected conceptions of home and belonging through a detailed study of Invasive Species (2017), an immersive media installation by emerging artist Emi Sfard. The installation comprises two interactive video works created with the help of 3D computer programs that can be updated in real time. Both works relate in different ways to Israeli landscape imaginaries, and examine the hidden relations between human and non-human “border crossers” that contribute to the way in which the national contours of the state of Israel are sustained, on material, aesthetic and conceptual levels. As I will argue, the installation’s critical edge resides in part in its refusal to remain within the picture plane, implicating spectators in the depicted images through gaming technologies, and so interspersing questions of national boundaries with those of the borders of the gallery space

摘要

本文通过对入侵物种的详细研究，探讨了生态影响的家园和归属感概念（2017 年），新兴艺术家 Emi Sfard 的沉浸式媒体装置。该装置包括两个交互式视频作品，这些作品是在可以实时更新的 3D 计算机程序的帮助下创建的。两部作品都以不同的方式与以色列的景观想象相关联，并考察了人类与非人类“过境者”之间的隐藏关系，这些关系有助于维持以色列国的国家轮廓在物质、美学和概念上的维持方式水平。正如我将要论证的，该装置的关键优势部分在于它拒绝留在画面中，通过游戏技术将观众牵连到所描绘的图像中，因此将国家边界问题与画廊空间边界问题穿插在一起