Word: wodiczko
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...Wodiczko tries to achieve verisimilitude in this piece with visual and auditory effects, without relying on his usual documentary measures. Yet he still encounters the problem of exploitation. By creating his own narrative and dialogue, he projects his perception of the defining characteristics of war onto the audience...
Wodiczko’s piece, “...Out of Here: The Veterans Project,” on display until March 28, consists of two parts. The first, installed in a small dark room, contains screens that show similar installations Wodiczko has created. These works consist of video testimonies from veterans that are amplified and projected on various forms of architecture...
...Wodiczko relies predominantly on documentary in his work. Most of the dialogue he presents comes directly from veterans. This technique, in effect, positions Wodiczko in the role of translator—by projecting the veterans’ words and playing them at full volume, the artist focuses on, but does not profess to change, their messages. The choice Wodiczko makes to amplify the voices with loudspeakers and display the videos on public buildings is deliberate. His confrontational style unavoidably instills in the stories a larger political message that the veterans may not have originally intended...
...introduces Wodiczko as an artist who has expanded the definition of a veteran to refer to any victim of war. With “...Out of Here: The Veterans Project,” Wodiczko attempts to transform the audience into veterans. He transports them into the center of the kind of confrontation that is an everyday reality for many. However, because audience members remain protected by the walls of the warehouse environment, and by the fact that they cannot directly participate in the narrative, they remain as spectators...
...full immersion technique of this piece serves its function in the beginning, when it is simple and understated. However, as soon as the attack from the soldiers begins, the work veers into cliché. Wodiczko is at his best when he manipulates images and scale, instilling simple images with significance. His choice to project closed fists on a government building carries much more weight than the booming loudspeaker that often accompanies these images. Wodiczko shouts with all his strength to turn the audience’s attention to the horror of war, but the terrible images and stories he portrays...