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The video does not tell a straightforward story; its bizarre images and colours are more reminiscent of dream sequences. In his two channel video installation American Car — , Claerbout confronts the viewers with two projections they cannot see simultaneously.
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The first shows the interior of a car; two men seen from behind stare out of the window as rain drums on the windscreen. The second shows the car from the outside, standing all by itself in the middle of an unspecified landscape. The viewers visit the two rooms one after the other, so that the period of time between viewing the two screens reflects the time represented in the film. This allows viewers to leave the traditional perspective of the moviegoer behind and step inside the film.
The illusionary movie space thus merges with real space, an effect that is subtly enhanced by the use of two audio channels, which unsettles the viewers, making them feel uncertain as to where exactly they are positioned.
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Claerbout throws a questioning light on the moving images of the film medium from the perspective of photography and by exploiting the editing options available to him. Screen 2 does not display an actual film, but a montage of digital photographs. Essay by Mark von Schlegell. Rather than a thematic concept, the forty-four works by thirty-five artists follow various content-related threads that reflect topical themes of contemporary art.
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The British painter, film maker, set designer and writer Derek Jarman — is best known to the wider public primarily as the director of stylistically influential feature films and music videos from the s and early s. Less well-known, but vital to his oeuvre, are the over 60 Super8 films that Jarman filmed from until his death in The 24 digitalised films from the Super8 archive, complemented by a 16mm sound film and the BlueRay version of a 35mm feature film, are distributed over both floors of the exhibition space as well as in the basement cinema.
To begin with the first floor contains 12 films covering the social and sub cultural world of Jarman and his circle of friends. The overlapping of documentation and staging is constantly fluid here and this is further reflected stylistically in the works. Two sound films, presented individually, break this sequence: in the first space TG: Psychic Rally in Heaven , an early music-video experiment, originally recorded on Super8 for the British industrial-music group Throbbing Gristle, and in front of the second space, Imagining October , which will be shown — not least because of its references to Sergei Eisenstein and Soviet film — in its original format, as a 16mm sound film.
On the second floor 11 films from the group of works covering rituals, mythology and landscape were on display. The works were deliberately presented in the completely open space surrounding the centrally placed, boxed projection of Art of Mirrors I-III Between them, the various works from to generate panoramically stylistic and content-based references. Text by Jon Savage. Size: 16,4 x 21 cm. British painter, filmmaker and author Derek Jarman is widely known for his groundbreaking and hugely influential feature films and music videos. However, the Super8 films he made in the s and 80s, although less well known, occupy an equally significant place in his oeuvre.
Some of the works have been developed especially for the programme. Agar Agar.
The exhibition documents the past hundred years of performance art. The content and number of exhibits will vary depending on the specific location. The exhibition will also establish connections to the local performance scene in each city. The project is organised by P. Cao Fei is one of the most important Chinese artists of her generation. Born in Guangzhou in , she grew up in a world of advertising and electronic entertainment.
Fascinated by the vibrant nature of consumer society, she developed an idiosyncratic visual language that playfully, ironically and humorously juxtaposes how we imagine, desire, criticise and enjoy reality, thus blurring the boundaries between reality and fantasy. In her diverse work, which ranges from photo series, films, performances and installations to prose and plays, Cao Fei seeks above all to investigate the rapid social and cultural changes revolutionising China as well as the new generation of Chinese teenagers.
Workers were interviewed individually about their secret dreams, career ambitions, goals and personal beliefs. Here Cao Fei exposes the underbelly of globalisation, which is changing both the Pearl River Delta and China as a whole, and investigates the implications for individuals and their role in society. Additional to the video the photographs show their cramped, shabby apartments where there is almost no personal space as each worker is only allocated a space in a multi-tiered bunk bed.
In her works I. Over 15 million users have signed up for this 3-D internet-based world since and each user has an avatar, a computer-animated digital alter ego that they can style and control, enabling them to visit existing environments in Second Life, talk with other users, earn virtual money and even start up a virtual business. Mirror is divided into three parts that portray both the beauty and excess of this virtual world. The fantasy world ultimately seems a cold and lonely place.
The I. Mirror project came to an end in when the video trilogy was presented at the 52nd Venice Biennale in the Chinese pavilion. RMB City RMB is the abbreviation for the Chinese currency Renminbi reflects the current wave of urbanisation sweeping China as well as the rapid social and cultural changes taking place there.
The virtual construction of the city was completed in late and the buildings in RMB City www.
In each city she transformed people from different national, social and cultural backgrounds into hip-hop dancers in an attempt to break down the rigid barriers between the media-dominated world of the younger generation and the everyday lives of the older generation. In Hip Hop Guangzhou Cao Fei plays hip-hop tracks to grocers and builders and introduces them to the basic dance steps, which are in fact reminiscent of the traditional formation dances performed by Chinese workforces. The exhibition focuses on corporeality in videos, installations and photography, an aspect of art that has been explored intensively since the s and s, in particular within the genres of Body Art and Performance.
The 54 works in the show were selected to shed light on the themes of self-dramatisation, pain, transformation, physicality in the sense of a plasticity that can be experienced as a real, external phenomenon, and also fragility in a literal way. Although the exhibition is unified by these overarching themes, it also allows viewers to discern the positions of the individual artists, since most of them are represented by several pieces. Thus Art-Make-Up No. Technological advances in film and video and the development of closed-circuit installations in the s made it possible for artists to record their actions on film, to observe themselves in a mirror at the same time and even transfer the recordings in another room.
Several other artists featured in the exhibition, such as Vito Acconci and Hannah Wilke, took advantage of the possibilities offered by this technology to expand the concept of sculpture. In posing for the camera like a s model, she exposes the stereotypical role of women in the art world of that day. Painful and shocking in equal measure are the performances by Chris Burden, which document self-imposed ordeals verging on martyrdom in the cause of art.
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In his legendary work Shoot from , Burden has someone shoot him in the arm; in Through the Night Softly the naked artist writhes his way out of a pile of broken glass with his arms tied. Displayed in a self-contained room and accompanied by screeching violins, the work turns viewers into spectators of a horror scenario. In Happiness finally after 35, Years of Civilization after Henry Darger and Charles Fourier , an animated digital video installation in wide-screen format, Paul Chan takes up the thread of his ongoing radical confrontation with politics and society.
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In his apocalyptic vision, a seemingly naive concept of paradise mutates into a horror scenario in a video-game aesthetic derived from the imagery of cult artist Henry Darger. A glass coffin, porcelain chrysanthemums and a live performance recorded in the same room complete the opera-inspired, fairytale-like scenario. Cheese and Dough by Mika Rottenberg are being shown together for the first time.
The main protagonists are six sisters with long, Rapunzel-like tresses who have magic powers and can make cheese with their hair. Using poetic imagery, Rottenberg repeats the production processes ad absurdum, incorporating the female body as a dynamic part of these processes and transporting viewers into a world that is at once comfortably familiar and bizarre. Size: 21,70 x 27,70 cm. Linen binding. Published by Hatje Cantz Verlag, Ostfildern.
It focuses on corporeality in videos, installations and photography, an aspect of art that has been explored intensively since the s and s, in particular within the genres of Body Art and Performance. The book and the exhibition shed light on the themes of self-dramatisation, pain, transformation and physicality in the sense of a plasticity that can be experienced as a real, external phenomenon.
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It also features an article contributed by respected art scholar Elisabeth Bronfen. The volume thus constitutes an informative work on a theme central to the art of the past 50 years. The collection has found a new home in the former production facilities of the Conzen frame factory. The building, which celebrates its centenary this year, was redeveloped from top to toe by the architectural firm Kuehn Malvezzi to meet the particular requirements of the collection.
A large opening connects the two main exhibition rooms and a delicate stairway leads up to the spacious attic floor and roof deck, 23 metres above the ground. The way up and down is the key to the whole design — a building that is less an object to look at than a path to follow. It leads through dark and light spaces, from the little cinema on the ground floor, on through two different exhibition storeys and up to the top floor with its metre ceiling.
It is remarkable to see how, even at the very zenith of the feminist movement, women were still being stereotyped as helpless creatures. The pieces on show centre on extreme spatial, psychological and interpersonal situations.
The two exhibition floors are also subdivided according to different questions and themes, both to highlight individual aspects of the works and open up the exhibition as a whole to explore further issues. Examples of works that centre on the destruction of interiors and structures are Shades of Destructors by Mark Leckey and Hammering Out an old argument by Monica Bonvicini. There is something profoundly unsettling and disturbing surrounding the act of destruction in the pieces by Robert Boyd and Adam McEwen. In the four-channel video installation Xanadu , Boyd focused on the self-destructive impulses that characterise our society by condensing different elements of mass culture like news bites, documentaries, comics and pop music videos into a sequence of split-second images.
The brutal and random interfaces reflect the media world we live in, where the boundaries between entertainment, information and horror have been virtually erased. The seemingly incongruous stories of different people, which move the protagonists through various interiors and urban landscapes, are projected onto three translucent screens. The works of Anthony Burdin heighten this feeling of disorientation; the protagonist in his Desert Mix leads spectators through a series of bizarre places.
McCall uses a 16mm film projector to direct light at a black surface; with the help of a smoke machine, the beam gradually becomes visible as a perfect cone of light. The space and the projection itself become a kind of sculpture that breaks down the traditional relationship between cinema viewers and the film projector. Foreword by Julia Stoschek. Size: 21,80 x 27,50 cm. The volume documents the exhibition and its extraordinary backdrop. Melgaard compares the experience to taking Dimethyltryptamine DMT , a naturally occurring drug, which is produced by a gland in the brain.
DMT is considered the strongest hallucinogenic chemical substance and is found in almost every living organism on earth. The artist is raising the contradictory view that if we are to continue to exist, humans will have to cease to procreate, as a result of the carbon impact of producing new human life. My Trip also explores the abyss of the technological underground, the endless information consumed every day and the feeling of apathy and dullness that this technology consequently produces.