Zeitschrift Umělec 1998/3 >> Volume right Gillian Wearing Übersicht aller Ausgaben
Zeitschrift Umělec
Jahrgang 1998, 3
2,50 EUR
3 USD
Die Printausgabe schicken an:
Abo bestellen

Volume right Gillian Wearing

Zeitschrift Umělec 1998/3

01.03.1998

Karel Císař | geneva | en cs

"A month after the opening of Gillian Wearing’s exhibition, the ambitious Center of Contemporary Art in Geneva is empty. An older custodian bathes in rays of the Alps sun shining through willfully raised blinds, and only one out of six videos works. After the shy star of the London scene had left and the last bottle of Pinot Noir had been finished, nobody is interested in the show any more. It should be the contrary without a doubt. Contrasting with the current, a bit cold and overintellectualized collection of the museum, which is located in a reconstructed factory, her exhibition is very open and full of emotions. Shown here were the Turner Prize winning black and white film Sasha and Mum (1996) projected on a screen, 16mm films 10-16 (1997) made for the BBC, a family idyll 2 into 1 (1997), and Byotime 1 and 2 (1997).
With their mutated gesture effect, the backwards played shots of a quarrel between a mother and her daughter in Sasha and Mum, remind of the same effect used in the “red lounge“ in David Lynch’s Twin Peaks. Love and hatred are rid of their contradiction in a space of disoriented causality. Perhaps they are more of a continuous energy field of discharges of accumulated emotions. Strangling is just a very strong embrace. Stringent, realistic, yet extraordinarily brutal shots of the mother hugging, tugging, petting her half undressed daughter, contain certain dark beauty in their effect. Unnatural movement of the mother’s simple flower-pattern dress is almost baroque despite its civil appearance. While motion was dominant in her previous works (Dancing in Peckham, 1994, showing Wearing dancing ferociously in a South London shopping mall and playing Gloria Geynor and Nirvana music in her mind; slight reprise, 1995, a compilation of metal fans playing air guitars, imitating their idols), Wearing’s later videos almost lack it. Her video 60 Minutes of Silence (1996) is almost radical in this respect with a photograph-like image of a group of 26 police officers standing silent. Her technique is now closer to TV documentaries than feature films.
In her seven short films entitled 10-16, Wearing lets children aged 10 to 16 tell their opinions on life. Their confessions, however, are told by adults whose mimicry are synchronized with the children’s voices. The short films echo the issue of media and their manipulation in an extraordinarily strong way. While in the Sasha and Mum video, the sound was limited to backwards played animal-like sobs and laughter, in 10-16 the authentic story placed into somebody else’s mouth plays the key role. Socially and racially varied group of adults talk about their future they have in fact already lived. The future has passed, people don’t want to play with us all the time and our parents don’t give us enough money. Plans and dreams do not become memories, on the contrary they are hidden traumas emerging from confessions Wearing provides a space for. In 1994, she shot ten such confessions without absolution. People in disguise admit thefts and sexual deviations after they had responded to her ad in Time Out: “Confess all on video. Don’t worry, you will be in disguise. Intrigued? Call Gillian...“ The authentic character of the confessions is intensified by cliche that may be easily overlooked and that Wearing took over from documentaries. A young man describes his sexual fantasies through the mouth of a middle-aged man sitting opposite the interviewer who disappears slowly from the shot as the man overcomes his barriers. A naked midget, with a child’s voice, scolds his lesbian mother and finally closes the door of his bathroom. The world of intimacy Wearing lets us enter is in the end also closing its door. Wearing used similar process of synchronization in her 2 into 1 video. Intimate confessions of a lonely person, however, are not transformed into the mouth of another. The stories are strategically exchanged among members of a close social group - a family represented by a mother and her two sons. The space of mirroring among the actors and viewers is jointed into itself. The mother’s harsh evaluation of her sons comes from her own mouth.
Gillian Wearing’s critical anthropology wreathes fibers of power relations that set the individual’s position in the society. She openly uses the often unreflected faith people in the 90‘s entrust on electronic media. They still want to express themselves, to say something or at least record their story for those who will want listen. Gillian Wearing does not only document their stories, she tries to intensify them by all accessible means to break into our disability to hear others and particularly ourselves. What else is left?
"





Kommentar

Der Artikel ist bisher nicht kommentiert worden

Neuen Kommentar einfügen

Empfohlene Artikel

Le Dernier Cri und das Schwarze Glied von Marseille Le Dernier Cri und das Schwarze Glied von Marseille
Alle Tage hört man, dass jemand mit einem etwas zusammen machen möchte, etwas organisieren und auf die Beine stellen will, aber dass … tja, was denn eigentlich ...? Uns gefällt wirklich gut, was ihr macht, aber hier könnte es einige Leute aufregen. Zwar stimmt es, dass ab und zu jemand aus einer Institution oder einem Institut entlassen wurde, weil er mit uns von Divus etwas veranstaltet hat –…
The Top 10 Czech Artists from the 1990s The Top 10 Czech Artists from the 1990s
The editors of Umělec have decided to come up with a list of ten artists who, in our opinion, were of crucial importance for the Czech art scene in the 1990s. After long debate and the setting of criteria, we arrived at a list of names we consider significant for the local context, for the presentation of Czech art outside the country and especially for the future of art. Our criteria did not…
Ein Interview mit Mike Hollands Ein Interview mit Mike Hollands
„Man muss die Hand von jemandem dreimal schütteln und der Person dabei fest in die Augen sehen. So schafft man es, sich den Namen von jemandem mit Sicherheit zu merken. Ich hab’ mir auf diese Art die Namen von 5.000 Leuten im Horse Hospital gemerkt”, erzählte mir Jim Hollands. Hollands ist ein experimenteller Filmemacher, Musiker und Kurator. In seiner Kindheit litt er unter harten sozialen…
Missglückte Koproduktion Missglückte Koproduktion
Wenn man sich gut orientiert, findet man heraus, dass man jeden Monat und vielleicht jede Woche die Chance hat, Geld für sein Kulturprojekt zu bekommen. Erfolgreiche Antragsteller haben genug Geld, durchschnittlich so viel, dass sie Ruhe geben, und die Erfolglosen werden von der Chance in Schach gehalten. Ganz natürlich sind also Agenturen nur mit dem Ziel entstanden, diese Fonds zu beantragen…
04.02.2020 10:17
Wohin weiter?
offside - vielseitig
S.d.Ch, Einzelgängertum und Randkultur  (Die Generation der 1970 Geborenen)
S.d.Ch, Einzelgängertum und Randkultur (Die Generation der 1970 Geborenen)
Josef Jindrák
Wer ist S.d.Ch? Eine Person mit vielen Interessen, aktiv in diversen Gebieten: In der Literatur, auf der Bühne, in der Musik und mit seinen Comics und Kollagen auch in der bildenden Kunst. In erster Linie aber Dichter und Dramatiker. Sein Charakter und seine Entschlossenheit machen ihn zum Einzelgänger. Sein Werk überschneidet sich nicht mit aktuellen Trends. Immer stellt er seine persönliche…
Weiterlesen …
offside - hanfverse
Die THC-Revue – Verschmähte Vergangenheit
Die THC-Revue – Verschmähte Vergangenheit
Ivan Mečl
Wir sind der fünfte Erdteil! Pítr Dragota und Viki Shock, Genialitätsfragmente (Fragmenty geniality), Mai/Juni 1997 Viki kam eigentlich vorbei, um mir Zeichnungen und Collagen zu zeigen. Nur so zur Ergänzung ließ er mich die im Samizdat (Selbstverlag) entstandene THC-Revue von Ende der Neunzigerjahre durchblättern. Als die mich begeisterte, erschrak er und sagte, dieses Schaffen sei ein…
Weiterlesen …
prize
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
To hen kai pán (Jindřich Chalupecký Prize Laureate 1998 Jiří Černický)
Weiterlesen …
mütter
Wer hat Angst vorm Muttersein?
Wer hat Angst vorm Muttersein?
Zuzana Štefková
Die Vermehrung von Definitionen des Begriffes „Mutter“ stellt zugleich einen Ort wachsender Unterdrückung wie auch der potenziellen Befreiung dar.1 Carol Stabile Man schrieb das Jahr 2003, im dichten Gesträuch des Waldes bei Kladno (Mittelböhmen) stand am Wegesrand eine Frau im fortgeschrittenen Stadium der Schwangerschaft. Passanten konnten ein Aufblitzen ihres sich wölbenden Bauchs erblicken,…
Weiterlesen …
Bücher und Medien, die Sie interessieren könnten Zum e-shop
43 x 19cm, Pen & Ink Drawing
Mehr Informationen ...
446,40 EUR
529 USD
A magazine of seductive exhilaration in this first erotic issue of its kind. Essentially a new and unexpectedly refined kind of...
Mehr Informationen ...
69 EUR
82 USD
2006, 34 x 35.5cm, Pen & Ink Drawing
Mehr Informationen ...
446,40 EUR
529 USD
Subscription with discounted postage.
Mehr Informationen ...
66 EUR
78 USD

Studio

Divus and its services

Studio Divus designs and develops your ideas for projects, presentations or entire PR packages using all sorts of visual means and media. We offer our clients complete solutions as well as all the individual steps along the way. In our work we bring together the most up-to-date and classic technologies, enabling us to produce a wide range of products. But we do more than just prints and digital projects, ad materials, posters, catalogues, books, the production of screen and space presentations in interiors or exteriors, digital work and image publication on the internet; we also produce digital films—including the editing, sound and 3-D effects—and we use this technology for web pages and for company presentations. We specialize in ...
 

Zitat des Tages Der Herausgeber haftet nicht für psychische und physische Zustände, die nach Lesen des Zitats auftreten können.

Die Begierde hält niemals ihre Versprechen.
KONTAKTE UND INFORMATIONEN FÜR DIE BESUCHER Kontakte Redaktion

DIVUS
NOVÁ PERLA
Kyjov 36-37, 407 47 Krásná Lípa
Čzech Republic


 

GALLERY
perla@divus.cz, +420 222 264 830, +420 606 606 425
open from Wednesday to Sunday between 10am to 6pm
and on appointment.

 

CAFÉ & BOOKSHOP
shop@divus.cz, +420 222 264 830, +420 606 606 425
open from Wednesday to Sunday between 10am to 10pm
and on appointment.

 

STUDO & PRINTING
studio@divus.cz, +420 222 264 830, +420 602 269 888
open from Monday to Friday between 10am to 6pm

 

DIVUS PUBLISHING
Ivan Mečl, ivan@divus.cz, +420 602 269 888

 

UMĚLEC MAGAZINE
Palo Fabuš, umelec@divus.cz

DIVUS LONDON
Arch 8, Resolution Way, Deptford
London SE8 4NT, United Kingdom

news@divus.org.uk, +44 (0) 7526 902 082

 

Open Wednesday to Saturday 12 – 6 pm.

 

DIVUS BERLIN
Potsdamer Str. 161, 10783 Berlin, Deutschland
berlin@divus.cz, +49 (0)151 2908 8150

 

Open Wednesday to Sunday between 1 pm and 7 pm

 

DIVUS WIEN
wien@divus.cz

DIVUS MEXICO CITY
mexico@divus.cz

DIVUS BARCELONA
barcelona@divus.cz
DIVUS MOSCOW & MINSK
alena@divus.cz

 

DIVUS NEWSPAPER IN DIE E-MAIL
Divus We Are Rising National Gallery For You! Go to Kyjov by Krásná Lípa no.37.