Models

Models is a video installation presented to one viewer at a time. The viewer enters a dark booth, and sits on a chair.
An attractive female model appears, her body from thighs up captured on two synchronized vertical monitors.
Wearing only panties, she stares at the viewer. At the same time, a man in his early thirties appears on a monitor to her right. The man is obviously aroused, and his behavior becomes more excited as the woman hesitantly takes off her panties. He also casts encouraging glances at the live viewer. The relationship among the three participants – the model, the man on the monitor , and the viewer – increases in tension in a way that replicates a live experience.
A repetitious electronic soundtrack contributes to this tension. The woman suddenly exits and a handsome young male model takes her place. Like her, he wears only underwear, and looks back and forth from the live viewer to the man on the monitor, who seems as excited by this male model as he was by the female model. The model removes his underwear and an interaction among the three begins to develop. This ten-minute video runs on a continuous loop. Viewers are free to enter and exit the booth at random.

Director & videographer: Dan Fine
Assistant Director: Andrea Mihalovic
Soundtrack: Gal Ziv
Written by: Dan Fine
Actors: Veronica Bero,
Mario Brassard, Nick Capous

 

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Visuality and the booth

Dan Fine
Video installations
“Visuality and the Booth”
By B i l l A r n i n g

Inspired by the strange architectural inventions of New York’s sexual undergrounds, Fine looks not at the sociosexual behaviors of these spaces, as have most artists who have dealt with this material.
Rather, the artist has treated the spaces as unintentional yet rich experiments in scopophilic pleasure, akin to museums. Fine takes all the complications of sight that occur when we look at pictures of other beings – our eyes move swiftly between face and body, and they will appear either to return our stare or be unaware – and he has cubed this complexity. His projections appear to be conspicuously aware of our stares, respond to them, and provoke them. When there is more then one human in the room and more then one projected actor, I calculate the different voyeur-to-viewed combinations at 64. This would be true if his figures were merely sitting fully clothed, hands folded in their laps. But Fine wants this to be more anxiety producing than such an academic
exercise would have been….
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