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September 9 - October 16, 2005 |
Frankfurt am Main, August 2005
- Video art is attracting new and special attention. Be it on
international art fairs - even ones dedicated exclusively to this medium
-, in museum exhibitions, in galleries and collections, everywhere
exciting works of young artists committed to video and film can be found.
Some of the most interesting and promising international videos we
discovered recently will be shown in our exhibition “screening #1” from
September 9 to October 15, 2005. The reason for this exhibition stands our
wish to offer unknown but nonetheless talented artists exploring this
medium a platform where their works can be shown together with already
established video artists. In order to be able to keep offering this
opportunity in the future and after the “screening #1”, we will in
parallel open our two new project spaces for video art, subzone1
and subzone2.
This
exhibition at the occasion of the “Opening the Season 2005” event of
Frankfurt galleries will start a series of presentations which will be
dedicated to video art of emerging young artists.
collectif-fact,
Annelore Schneider *1979, Swann Thommen *1979, Claude
Piguet *1977
Nathalie Djurberg is fascinated by the darker side of the human mind. In her colourful short films accompanied by obtrusively hilarious music by Hans Berg, she tips over the cheerful initial situation of her florid plasticine figures into the grotesque, the dangerous, the perversion. In the combination of the naïve material of plasticine with the not nearly as innocent themes of power, violence, perversion and sadism, Djurberg creates a narrative comment on human nature which dithers between irony and earnestness.
„I am interested in how humans use an absurd mixture of opposing emotions when they are faced with overwhelming situations and anxiety, and I would like viewers to have a similar experience of contradictory sensations when they see my work. I combine conflicting sources to create awkward figures or characters that may be likened to that of a teenager who is trapped between childhood and adulthood. These characters straddle the border between being pitiful and hilarious so that they demand both empathy and uncomfortable laughter.”
In her video „Preparations for uncertain doom“, Sofia Hultén poses the Question of Meaning: A woman systematically seals all vents in her flat connecting her to the outdoor-world – she stuffes cushions into the funnel, a blanket into the hole under the plank, gum and wadding into the outlet. “There are things you do”, says the artists, “ because you are powerless to do anything about the real problems.” Her protagonist makes her arrangements and feels safer only because she simply switches off the knowledge of their uselessness.
Courtesy Gallery Wilson, Copenhagen
In Jesper Just’s video The Lonely Villa, the protagonists perform a scripted musical fantasy of communication and empathy. Just choreographs over-blown sentimental outbursts from his actors, attemps to reveal the social conventions of male behaviour through the cinematic depiction of its exact opposites while playing in this ambiguous scenarios with homoerotic tensions and father-son-relationships.
In humoresque, satirical comments, Dionisis Kavallieratos analyses, questions and plays with the images of male archtypes created by a Hollywood-addicted society. In his (untitled) video from 2003, he conducts a kind of behaviour research revealing the hierarchic power structures in the interaction of two male protagonists as a strict joining of movement and reaction patterns.
Appearing to barely have outgrown adolescence herself, McQuilkin turns her camera nostalgically at herself and the romanticism and image based mindset closely associated with the teenage years. “Youth is a time when we allow ourselves to be influenced – when rock stars are unfaltering gods. Things feel immediate and unfiltered even if they aren’t.” states the young artist. Drastically and at the same time subtly McQuilkin shows us that reality and imagination merge more often than we realize. In front of a Kurt Cobain poster one girl dances herself to ecstasy while another admires her own reflection as she bleeds to death, her wrists clad in blood soaked gauze and jewels: a sort of suicide chic.
It is mainly in public sapces that Nasan Tur watches people and their patterns of behaviour to research in an equally critical as humorous way on our cultural and social identity. Sculpture, photography, video installations and performance are his means of expression, and in all of them, he plays with social conventions as well as the spectators’ anticipation.
„Cosmos is an idea of the world as physical space. The fixed point forms an imaginary line with our eye and all movement comes to life and is defined against something in relation to this axis, a sort of clothesline disguised as perceptive axiom now fit to have the world pinned to it.” (Wende 2005) In his video “the great voyage”, noodle slowly travel from one side of their packing to the other.
Mit freundlicher Unterstützung von:
Sulzbach im Taunus
Hanauer Landstraße 134, 60314 Frankfurt, Germany, +49 (0)69-43053962
mail@galerieadler.com, www.galerieadler.com