Vitrine : eleven colourful outside jobs
Vitrine: eleven colourful outside jobs is about reconsidering the relationship between image, audience and space, engaging with a situational aesthetics in order to question ideological representations and languages of everyday life. This group exhibition brings together artists working across the moving image spectrum who each in their own way offer possibilities of inquiry, engagement and participation in the formulation and ascription of meaning. The works function in direct relation to the actual urban environment: their specific context of exhibition, street shop-windows, underlines the variety of processes at play during the production of meaning while at the same time allowing for new subjectivities to emerge. Space becomes an object of intervention and at the same time the instrument of that same intervention. Vitrine: eleven colourful outside jobs is a possibility of critical reflection, a fluid framework of instability emerging from the unexpected yet meaningful visual combinations that might open individuals to a potential significant role in giving meaning to contexts and objects.
Official Film Programme
AL and AL, I killed thousands of people last night and these are all the weapons I used – 3D, HD, 2009, UK, 2:22
Commissioned by Edwin Carels for MuKHA (Antwerp Museum of Modern Art), Cultuurcentrum Mechelen and MMMechelen vzw as part of the City Visions event.
In I killed thousands of people last night and these are all the weapons I used – 3D, a series of animated weapons are labelled with their value as though in an arms dealer’s showroom, or is it just a computer game waiting for the player to buy their munitions?
Greta Alfaro, In Ictu Oculi, HDV, 2009, Spain, 10:35
There is a table in the middle of the countryside, but the guests are absent. There is a feast of food and wine waiting in the cold weather and the dry landscape. The vultures are to come and eat our food and destroy our setting: the still life, the banquet, the space of enjoyment and civilization. The vultures, the beasts linked to death and dirt, to violence and fear, arrive by surprise, and like in a fable, represent for us some of our own qualities.
John Baldessari, Six Colorful Inside Jobs, 16mm on video, 1977, US, 32:53
Seen from a bird’s eye view, a figure paints the walls and floor of a windowless room six times in six days, using each of the primary and secondary colours.
Dara Birnbaum, Mirroring, Video, 1975, US, 6:01
Courtesy of Marian Goodman Gallery, New York & Paris and Electronic Arts lntermix, New York
In this early performance-based work, Birnbaum investigates the notion of video as a mirror to create a psychological self-portrait. Devising a simple but ingenious formal exercise, she layers real and reflected images to articulate metaphorically the duality of internal and external selves.
Herz Frank, Ten Minutes Older (Par Desmit Minutem Vecaks), 1978, Latvia, 35mm on video, 10.00
The film Ten Minutes Older has been advised by Land In Focus, multidisciplinary arts organisation specialised in revealing and promoting world cinema cultures.
Acclaimed documentary film director Herz Frank, with cameraman Juris Podnieks, captured the purest range of human emotions without a word being spoken in a single continuous ten-minute shot. The viewer does not actually see what is happening off camera; instead, we are drawn to witnessing the facial expressions of a child perplexed with a puppet show.
Ian Helliwell, Coloured Light District, Super 8mm on Video, 2002, UK, 2:10
Derived from found super-8 footage of night-time cityscapes shot in London and Berlin in the early 1970s, this silent amateur film of lights and neon signs has been reorganized through editing, superimposition and colour inversion, with Helliwell`s soundtrack combining electronics, computer sounds and short wave radio signals.
Olga Koroleva, Dialogues: White Chocolate and Jesus, (part of ongoing series), 2011 onwards, UK, 5:21
Dialogues is an ongoing series of text and video works inspired by the banality of the everyday and our tendency to give away personal information in public context. Split between two screens it aims to underline a degree of self-awareness, questioning the accuracy behind information we readily take for a fact. Screen 1 features a series of typed text complied from dialogues overheard and recorded as the conversations were taking place, those written down from memory, others written as a reaction to the immediate context, at different times. Akin to the type of screenplay writing it is shown in conjunction with screen 2, where two the figures are seen sat at a table; both screens are set to unsynchronized loop, meaning no particular part of the text is directly linked with any part of the image –instead there is a possible connection raising the question of (mis)communication and psychological alienation between two interlocutors while within close physical proximity.
Jess MacNeil, The Swimmers, HDV, 2009, UK, 4:00
Commissioned by Kaldor Public Art Projects for the project “MOVE – Video Art in Schools”
The Swimmers presents an apparently simple scene of an ocean pool against the ocean, played in slow motion. The organic motion of the water contrasts the underlying geometry of the pool.
The footage has been digitally manipulated to remove the bodies of the swimmers from the water, leaving only the conditions and effect of their presence – the disturbance they create in the pool, the shadows left by their bodes. This, along with the mesmeric motion of the ocean waves and their effects on the water in the pool, composes the work.
The work loops seamlessly and with no discernable beginning or end.
Jorge Santos, Window, HDV, 2011, Portugal, 3:00
Commissioned for Vitrine : eleven colourful outside jobs as part of Brighton and Hove White Night 2011.
The window of a train frames the word Window written in the glass while behind a moving landscape emerges.
Richard Serra, Hand Catching Lead, 16mm on video, 1968, US, 3:02
Richard Serra’s first film features a single shot of a hand in an attempt to repeatedly catch chunks of material dropped from the top of the frame.
Gillian Wearing, Dancing In Peckham, Video, 1994, UK, 25:00
Courtesy of the Government Art Collection
The artist recorded herself dancing in a busy South London shopping centre to the bewilderment or indifference of passers-by. Wearing’s intimate understanding of the language of documentation explores the gap between public and private experience.
Gillian Wearing’s video Dancing in Peckham shows the artist dancing in the middle of a south-London shopping centre. Members of the public walk past, bemused by her behaviour or ignoring her completely, as she moves to the music of Nirvana and Gloria Gaynor, played only in her head. Wearing is interested in the boundaries of what might be considered “normal” behaviour and the lines between private and public. The idea for Dancing in Peckham came to Wearing when she saw a woman dancing wildly at the Royal Festival Hall in London, unaware that other people were mocking her.
Curatorial team: Clare Holden, João Laia and Michaela Synackova