威尼斯09值得关注的艺术家3
Keren Cytter
Keren Cytter, (生于1977) 以色列视觉艺术家。 目前居住工作在柏林，德国阿姆斯特丹和瑞士。
The Arsenale is a massive complex of installation rooms just west of the Giardini, the garden home of the national pavilions, in Venice. Cavernous, dark, and seemingly unending, the halls of the Arsenale are one of the two main venues for the survey component of the Biennale. Curated by the director of this year’s Biennale, Daniel Birnbaum, the exhibition is called “Making Worlds” and includes a wide variety of artists.
Two video-based works by female artists Ulla von Brandenburg and Keren Cytter took different approaches to a similar setup: put a group of ambiguously related characters into a fragmented, abstract social situation. In both cases, complex pschological dynamics come through, but the effects are very different.
Keren Cytter’s video is, among other things, a catalog of hostilities. Bitingly aggressive members of one or more families subtly and unsubtly attack each other, with very little context. A son calls his mother a whore with no prompting. Throughout the short narrative, characters of various generations wander through a theatrical stage set, being watched by an audience that laughs and cheers at inappropriate times. Despite the immeasurable tension, there is a sense of intimacy among the characters that feels very important and realistic.
Keren Cytter在第37届巴塞尔艺博会艺术称述项目中
Julia, Keren Cytter and reporter Ane Bulow in a relaxed atmosphere at Art 37 Basel
Cytters five-minute loop video The Victim exploits one film genre after another. Melodrama, thriller, family series and soap opera all figure in a story that links five characters. Relationships are revealed at breathtaking speed, only to shift and change the next instant. The nature of the characters and their function within the narrative fragments are in constant flux. Entrances follow exits, exposition follows faux denouement and confession follows morality until such confusion reigns that not even the characters themselves seem to know what game they are playing: possibly a drama of perfectly ordinary insanity in the mirror of fiction.
Keren Cytter: The Victim (excerpt), 2006, Video DVD 5 min.
Courtesy Elisabeth Kaufmann Gallery, Zurich
Keren Cytter, Something Happened (2007, 8 min, digital video), courtesy of the artist and Ellen de Bruijne Projects, Amsterdam
Keren Cytter, (生于1977) 以色列视觉艺术家。 目前居住工作在柏林，德国阿姆斯特丹和瑞士。
The Arsenale is a massive complex of installation rooms just west of the Giardini, the garden home of the national pavilions, in Venice. Cavernous, dark, and seemingly unending, the halls of the Arsenale are one of the two main venues for the survey component of the Biennale. Curated by the director of this year’s Biennale, Daniel Birnbaum, the exhibition is called “Making Worlds” and includes a wide variety of artists.
Two video-based works by female artists Ulla von Brandenburg and Keren Cytter took different approaches to a similar setup: put a group of ambiguously related characters into a fragmented, abstract social situation. In both cases, complex pschological dynamics come through, but the effects are very different.
Keren Cytter’s video is, among other things, a catalog of hostilities. Bitingly aggressive members of one or more families subtly and unsubtly attack each other, with very little context. A son calls his mother a whore with no prompting. Throughout the short narrative, characters of various generations wander through a theatrical stage set, being watched by an audience that laughs and cheers at inappropriate times. Despite the immeasurable tension, there is a sense of intimacy among the characters that feels very important and realistic.
Keren Cytter在第37届巴塞尔艺博会艺术称述项目中
Julia, Keren Cytter and reporter Ane Bulow in a relaxed atmosphere at Art 37 Basel
Cytters five-minute loop video The Victim exploits one film genre after another. Melodrama, thriller, family series and soap opera all figure in a story that links five characters. Relationships are revealed at breathtaking speed, only to shift and change the next instant. The nature of the characters and their function within the narrative fragments are in constant flux. Entrances follow exits, exposition follows faux denouement and confession follows morality until such confusion reigns that not even the characters themselves seem to know what game they are playing: possibly a drama of perfectly ordinary insanity in the mirror of fiction.
Keren Cytter: The Victim (excerpt), 2006, Video DVD 5 min.
Courtesy Elisabeth Kaufmann Gallery, Zurich
Keren Cytter, Something Happened (2007, 8 min, digital video), courtesy of the artist and Ellen de Bruijne Projects, Amsterdam
Joan Jonas
作为Joan Jonas
于1936年出生于纽约，现工作生活于纽约
朱安。朱娜斯（Joan Jonas 6.1936）另一位自60年代经来就从事媒介行为的女艺术家。当她还在纽约读书时，就介入卫朱迪逊教堂的艺术圈子。她学的是雕塑，因此她首先被电影和行为中的雕塑性因素所吸引。她曾经谈到：
我将审视绘画窨，行动雕塑和建筑空间的感觉带到表演中。在自己的表演作品中，我是作品的一个材料，或一个在僵硬地移动的物体。我放弃了做雕塑的想法而直接走入展示空间。行为所吸引我的是混合声音，运动和形象的可能性。所有这些不同的媒体均可陈述某种东西，它们是相互依赖而存在的。
从一开始，她的行为就结合了电影和电视，在自己于1968年完成的第一个表演中，她就放映了电影《风》。这部电影以风和水作为展示的基本元素。朱安在表演中将摄影机和显示屏既当作戏剧道具，又视作雕塑元素而运用到表演中。1970年，当她买到松下便携式摄像机时发现这各新设备”极有魔力”，而且将自己想像成一名制做形象的电子女巫”。1972年完成的《有机密之视觉心理感应》是一可表演性的视频作品，它还可视作一个由整个房间改造成的空间装置。显示屏投出的形象似乎传达出强烈的神密力量，她本人的出场形象是身着一件蓝色长袍，头戴一顶女巫式的漏斗状帽子，脸上表演出怪异的表情。她的动作总是变幻不走，如同变化的影像和灯光。她的作品借助电影，灯光，视频等新媒体技术，表达出某种神话和史诗般的神密力量，似乎是人类技术进步与精神发展的对话，这样的作吕包括1934年完成的《漏斗》。1985年完成的《塞格火山》等。
Joan Jonas. The Shape, The Scent, The Feel of Things, 2005.
True to her form of translating the language of video (editing, montage) into performance and passing performance through the lens of video, the newest iteration of Joan Jonas's The Shape, The Scent, The Feel of Things, 2004–2005, is a sophisticated, layered, and at times exhaustingly complex reflection on diverse cultural source material. Commissioned by and performed at Dia:Beacon in October, 2005, this project is the result of Jonas's research into German art historian Aby Warburg's essay about a fin de siècle trip to the American Southwest.
Joan Jonas. Wolf Lights , 2005.
Description:
DIA: Beacon, New York
Medium:
Video
Joan Jonas. Lines in the Sand, 2002.
Description:
Narrated by Jonas, Lines in the Sand is a deeply subjective meditation no less about the fate of self than of civilization. By chronologically and geographically transposing the story of H.D. and her alter ego, Helen, on to present day Las Vegas, whose Luxor Hotel provides the perfect mise en scene, Jonas subtly and not so subtly transcribes contemporary reality into myth. Picking up where H.D. left off, Jonas’ suggestion that a now liberated Helen has turned up in Vegas is perfectly in keeping with myth’s ability to blur the boundaries between fact and fiction. But despite its humorous aspect, the date of its production and its title, make Lines in the Sand somewhat conspicuous with respect to any myth regarding war. Made in 2002, at a time when there was talk of a sequel to the first Gulf War, Jonas’ title cannot help but refer to the declaration of war President Bush the elder issued to Saddam Hussein for his invasion of Kuwait.
Joan Jonas. Glass Puzzle , 1974.
Description:
In her early films, Jonas uses the medium of film - often black and white and silent - to examine the human body, its ritualistic movements, and the spaces it occupies.
Joan Jonas. Volcano Saga, 1985.
Description:
Volcano Saga (video performance) was first performed at De Appel, Amsterdam, The Netherlands (Performer: Joan Jonas. Assistant: Yelena Matulic).
Medium:
Performance
作为Joan Jonas
于1936年出生于纽约，现工作生活于纽约
朱安。朱娜斯（Joan Jonas 6.1936）另一位自60年代经来就从事媒介行为的女艺术家。当她还在纽约读书时，就介入卫朱迪逊教堂的艺术圈子。她学的是雕塑，因此她首先被电影和行为中的雕塑性因素所吸引。她曾经谈到：
我将审视绘画窨，行动雕塑和建筑空间的感觉带到表演中。在自己的表演作品中，我是作品的一个材料，或一个在僵硬地移动的物体。我放弃了做雕塑的想法而直接走入展示空间。行为所吸引我的是混合声音，运动和形象的可能性。所有这些不同的媒体均可陈述某种东西，它们是相互依赖而存在的。
从一开始，她的行为就结合了电影和电视，在自己于1968年完成的第一个表演中，她就放映了电影《风》。这部电影以风和水作为展示的基本元素。朱安在表演中将摄影机和显示屏既当作戏剧道具，又视作雕塑元素而运用到表演中。1970年，当她买到松下便携式摄像机时发现这各新设备”极有魔力”，而且将自己想像成一名制做形象的电子女巫”。1972年完成的《有机密之视觉心理感应》是一可表演性的视频作品，它还可视作一个由整个房间改造成的空间装置。显示屏投出的形象似乎传达出强烈的神密力量，她本人的出场形象是身着一件蓝色长袍，头戴一顶女巫式的漏斗状帽子，脸上表演出怪异的表情。她的动作总是变幻不走，如同变化的影像和灯光。她的作品借助电影，灯光，视频等新媒体技术，表达出某种神话和史诗般的神密力量，似乎是人类技术进步与精神发展的对话，这样的作吕包括1934年完成的《漏斗》。1985年完成的《塞格火山》等。
Joan Jonas. The Shape, The Scent, The Feel of Things, 2005.
True to her form of translating the language of video (editing, montage) into performance and passing performance through the lens of video, the newest iteration of Joan Jonas's The Shape, The Scent, The Feel of Things, 2004–2005, is a sophisticated, layered, and at times exhaustingly complex reflection on diverse cultural source material. Commissioned by and performed at Dia:Beacon in October, 2005, this project is the result of Jonas's research into German art historian Aby Warburg's essay about a fin de siècle trip to the American Southwest.
Joan Jonas. Wolf Lights , 2005.
Description:
DIA: Beacon, New York
Medium:
Video
Joan Jonas. Lines in the Sand, 2002.
Description:
Narrated by Jonas, Lines in the Sand is a deeply subjective meditation no less about the fate of self than of civilization. By chronologically and geographically transposing the story of H.D. and her alter ego, Helen, on to present day Las Vegas, whose Luxor Hotel provides the perfect mise en scene, Jonas subtly and not so subtly transcribes contemporary reality into myth. Picking up where H.D. left off, Jonas’ suggestion that a now liberated Helen has turned up in Vegas is perfectly in keeping with myth’s ability to blur the boundaries between fact and fiction. But despite its humorous aspect, the date of its production and its title, make Lines in the Sand somewhat conspicuous with respect to any myth regarding war. Made in 2002, at a time when there was talk of a sequel to the first Gulf War, Jonas’ title cannot help but refer to the declaration of war President Bush the elder issued to Saddam Hussein for his invasion of Kuwait.
Joan Jonas. Glass Puzzle , 1974.
Description:
In her early films, Jonas uses the medium of film - often black and white and silent - to examine the human body, its ritualistic movements, and the spaces it occupies.
Joan Jonas. Volcano Saga, 1985.
Description:
Volcano Saga (video performance) was first performed at De Appel, Amsterdam, The Netherlands (Performer: Joan Jonas. Assistant: Yelena Matulic).
Medium:
Performance
