At the annual event in Park City, Utah, art and installations have a special place in the section called New Frontier, where you can find works like Pleasant Places by Davide Quayola. On a large screen, we see a high-definition landscape near St Remy in Provence, where Vincent van Gogh painted some of the last works of his life.
An image from Pleasant Places by Quayola, from the New Frontier art programme at the 2017 Sundance Film Festival (Image: by Quayola, courtesy of Sundance Institute)
Full Turn by Benjamin Muzzin, from the New Frontier art programme at the 2017 Sundance Film Festival (Image by Benjamin Muzzin, Courtesy of Sundance Institute)
Virtual reality has been a fixture at Sundance for years. A medium in flux, it is a mass platform that still hasn’t rallied the masses. But VR has major investors, and engages plenty of artists while those investors figure out how to monetise it. At Sundance, some artists take a political turn, as in Melting Ice by Danfung Dennis, a VR walk with former VP Al Gore (an Inconvenient Sequel, 2017) through a disappearing glacier in Greenland.
A still from Zero Days VR by Yasmin Elayat, Elie Zananiri and Scatter, an official selection of the New Frontier VR section at the 2017 Sundance Film Festival (Image: Courtesy of Sundance Institute)
Nearby is a memento mori, by design. Orbital Vanitas, by the Australian artist Shaun Gladwell, views the Earth from space, where a skull-shaped spacecraft makes a graceful crossing. Gladwell, who represented Australia at the 2009 Venice Biennale, says the vessels design is “a critique of VR, because we actually have two of our head senses arrested. It’s almost as if you’re trapped in your skull”.
But there are also examples of the intimacy that VR can create, such as in Dear Angelica, written and directed by Saschka Unseld. The 15-minute animated work, drawn using the VR tool Quill by the New Yorker artist Wesley Allsbrook, is a daughter’s immersive journey into the memory of her mother. It sets a high bar for a medium that often veers into pyrotechnics, shock and sci-fi. Nothing so lyrical was on offer anywhere else at Sundance.
Cate Blanchett appears in Manifesto by Julian Rosefeldt, an official selection of the Premieres programme at the 2017 Sundance Film Festival (Image: courtesy of Sundance Institute, photo by Barbara Schmidt)
Returning to art and politics, the documentary film Water and Power: A California Heist, by Marina Zenovich (National Geographic), implicates the Los Angeles art collectors and museum benefactors Stewart and Lynda Resnick in an environmental scheme. The Wonderful Company, a multi-billion dollar agricultural firm created by Stewart Resnick, is alleged in the film to have seized huge quantities of water in drought-stricken California meant for public use, while many residents in the towns nearby lacked access to clean drinking water. Lynda Resnick is a longtime trustee at the Los Angeles County Museum of Art.
A still from Water & Power: A California Heist by Marina Zenovich, an official selection of the US Documentary Competition at the 2017 Sundance Film Festival (Image: courtesy of Sundance Institute, photo by Fresh Water Films/Bryan Harvey/Tim Gould)