smh.com.au
Documentary "Suspending Disbelief" Explores Stelarc's Provocative Performance Art
Suspending Disbelief", a documentary co-directed by Richard Moore and John Doggett Williams, explores the career of Australian performance artist Stelarc, using archival footage and Stelarc's personal collection, to showcase his provocative performances, specifically his 'suspensions', from the 1980s and 90s and beyond, challenging typical arts documentaries by focusing on the work's rawness and intensity.
- How does the film use shocking imagery, such as Mike Parr's performance, to further its narrative and thematic exploration?
- The film avoids hagiography, contrasting with typical arts documentaries by presenting Stelarc's work in its rawness and intensity, including disturbing images. It deliberately includes shocking elements, such as footage of Mike Parr's performance art at the Venice Biennale, to illustrate the themes of pain, transgression, and the body as a medium. The directors aimed to counter the often sanitized portrayal of artists in documentaries.
- What is the main focus of the documentary "Suspending Disbelief", and what makes its approach unique in the context of art documentaries?
- Suspending Disbelief", a film co-directed by Richard Moore and John Doggett Williams, explores the career of performance artist Stelarc, showcasing his provocative body-based performances spanning several decades. The film acts as a homage to Stelarc's artistic journey, highlighting his unique approach and impact on the Australian and international art scenes. The documentary uses archival footage and Stelarc's own collection to present a visually striking and thought-provoking exploration of his work.
- What are the longer-term implications of "Suspending Disbelief"'s approach on how we view and discuss performance art and its relationship to the public?
- Suspending Disbelief" contributes to the ongoing conversation surrounding body art and its place within the broader art world. By emphasizing the visceral and challenging aspects of Stelarc's work, the film compels viewers to grapple with questions of artistic expression, the limits of the body, and the public's response to extreme art. Its focus on the work over the artist himself creates a unique and thought-provoking viewing experience, forcing critical engagement.
Cognitive Concepts
Framing Bias
The framing emphasizes the film's stylistic choices and its critique of other arts documentaries. The headline and early paragraphs focus on the film's counterpoint to hagiography, potentially influencing the audience to view the film through this specific lens, before fully understanding its content. This prioritization shapes the audience's expectations and interpretation.
Language Bias
While the review uses descriptive language ("remarkable, and appalling"), this is used to characterize the art itself rather than making value judgments on the artist or filmmaker. The language is generally neutral and avoids loaded terms.
Bias by Omission
The review focuses heavily on the film's portrayal of Stelarc's work, rather than providing substantial insight into Stelarc himself. While acknowledging this is a deliberate choice by the filmmakers, it omits potentially valuable biographical context or perspectives on Stelarc's motivations and personal life. This omission might leave viewers with an incomplete understanding of the artist.
False Dichotomy
The review presents a false dichotomy by framing the film's approach as a counterpoint to "hagiography," implying that only two approaches to an art documentary exist: overly celebratory or excessively critical. This ignores the possibility of balanced, nuanced portrayals that appreciate an artist's work without shying away from complexities.