ATAMATAM 目目 (2021, 2022)
By Merissa Tang and Syimah SabtuWhat do you see?
How do you see?
What is being watched?
What reality are we in?
ATAMATAM 目目 is an ongoing exploration of space, surveillance, intimacy, and gaze. First conceived during Circuit Breaker in 2020, this evolving work harnesses the power of movement and technology, to investigate the ways digital media has shaped how we experience the physical world.
Installed throughout the gallery space, ATAMATAM comprises several CCTV surveillance cameras, some operational, some dummies. Each camera is placed at varying proximities to the viewer. Alongside the live CCTV feed, a pre-recorded feed of a dancer moving about and interacting with the artworks in the exhibition space is shown in a two-channel video installation.
In watching the CCTV feeds side-by-side, the viewer is then prompted to question their own individual gaze, while being looked at and looking at another.
ATAMATAM was first developed for The Theater Practice's It's Not About The Numbers series in 2021.
Sound design by Rosmainy Buang
How do you see?
What is being watched?
What reality are we in?
ATAMATAM 目目 is an ongoing exploration of space, surveillance, intimacy, and gaze. First conceived during Circuit Breaker in 2020, this evolving work harnesses the power of movement and technology, to investigate the ways digital media has shaped how we experience the physical world.
Installed throughout the gallery space, ATAMATAM comprises several CCTV surveillance cameras, some operational, some dummies. Each camera is placed at varying proximities to the viewer. Alongside the live CCTV feed, a pre-recorded feed of a dancer moving about and interacting with the artworks in the exhibition space is shown in a two-channel video installation.
In watching the CCTV feeds side-by-side, the viewer is then prompted to question their own individual gaze, while being looked at and looking at another.
ATAMATAM was first developed for The Theater Practice's It's Not About The Numbers series in 2021.
Sound design by Rosmainy Buang
