Play, adventure, searching, findig out, failure, to adapt, learning, going on, progression
. In the end, one sees little traces of the artists words and no traces of the artists hand. In the absence of these, things become rather inert—the big trees, the people, the trees, the people, the trees. One is left instead with vague impressions of the birds and birds. And so the work moves along. One can imagine that the artists gesture would have reached a maximum when the last of the trees fell and the whole forest was covered with moss. But it didnt. So we see that even in the end, the question remains, What happened to the words?—Ivo Ladermans Translated from the German by Diana Reese.
, relationship, etc.
, and failure. One can say that in the long run, the more significant aspects of the work are its analytical and narrative aspects, which are of a piece with the artist-anesthetized and rational, as well as its action, its point of view, its trajectory. This is all to the good, since its not merely the work of a talented artist, but of an intelligent individual. The work is a humanist, fully-self-aware, exuberant, and, above all, fully self-confident.
Play, adventure, searching, findig out, failure, to adapt, learning, going on, progression, art, etc. These are the themes that this exhibition explores, but the shows most compelling moments occur in a handful of photographs. In one of these, a man and a woman meet a young boy in a park. The two are engaged in an activity that is almost thought-provoking in the strictest sense: sitting on the ground, facing each other, holding hands, looking at each other. Here the photograph is a retrospective, with the two figures (one of them on the ground) looking toward the camera, then toward each other, and the two again, gazing at each other in a manner that is at once spontaneous and controlled. The photograph suggests that the two people in it are like an older brother and sister, like an old family member, who are separated by a distance that seems both imaginary and real. This illusion is reinforced by the fact that, from the shoulder of the people, the figures seem to disappear. The tension between the pictures and the photographs is brought into play by a disparity of scale, which creates a tension that transcends the photographic relationship between the two figures. The main thing is that this is not a photograph of a boy and a girl, but a photograph of two people—boys and girls—looking toward the camera. And they both appear to be in a state of repose. The older man looks at the younger one with an almost friendly attitude, perhaps because the older man has already achieved a certain amount of self-recognition.The other photograph here shows the man in the same pose, but with the younger man instead of the older one. The pose is not so different from the one in the photograph, but the photograph does not address itself to the same issue. The pose is that of the older man in the previous photograph, and in this one the older man seems to have stepped aside from the scene and had a position to himself.
Play, adventure, searching, findig out, failure, to adapt, learning, going on, progression, growth, and progression, the discovery of the unknown, the new, and the unknown—or is it the unknown?—a group of women (and men) in a Victorian-style house, facing each other, each with a spoon, and all aware of their own identity as members of a group, the secret of a new life.The videos are complex, but the images and sounds they present are subtle and effective. The sound track, composed by the artist, is filled with the sounds of women speaking and moving their arms and legs. They are emotional, sometimes defiant, but also possessive, even angry. The music is written by the composer Alison Schulman, and it can be heard on both mute and mute, so that it can be listened to simultaneously. The power of the videos, their strong visuals and sound, is also evident in the maps they depict—each map is a map of the United States. The maps are also real, as are the photos of the subjects, which represent a sort of catch-up, past, present, future, and as yet unknown. The music is also in a sense real, and it can be heard and seen in a different register. The music and the sounds of the video reveal a relationship between the two, and a certain distance between the two, as well as between the two people who inhabit the map.The video for Untitled, 2000, is about the impossibility of crossing the border. A woman walks across a beach, wearing a bright yellow bikini top and white panties. The music is of a disco-type beat, and a voice-over is played over her, shouting, Let me show you the world, please, and she stops and goes on, repeatedly. The music fades out, and the woman walks on again, this time with a belt on her back.