Professional Documents
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VIDEO SPACES
BarbaraLondon
14 -
JudithBarryand BradMiskell,HardCell 1994. Photo: Courtesy
Nicole KlagsbrunGallery,New York.
LONDON / VideoSpaces * 15
MarcelOdenbach,EineFaustin derTaschemachen(Makea Fist in the
Pocket),1994. Photo: CourtesyMuseo Nacional
Centrode Arte Reina
Sofia, Madrid.
Tony Oursler,Systemfor
DramaticFeedback,1994.
Photo: CourtesyMetro
Pictures,New York.
LONDON / VideoSpaces * 17
thought. Silent Movie is a soaring tower Tony Oursler (New York). Systemfor
made up of five over-sized monitors DramaticFeedback,1994.
stacked one on top of the other. Teeter-
ing, the structure is stabilized by guy At the doorway to Oursler's Systemfor
wire. The black-and-white images on Dramatic Feedback stands a howling
the monumental screens come from the effigy. Over and over it cries, "Oh, no!
silent movie era. Or are they the artist's Oh, no! Oh, no!" The voice is anxious
reverie about the period? Marker is and shrill and pierces the space. A wall-
bound nostalgically to the "golden age" sized, black-and-white video projection
of silent film but will not give up the of an audience fills the wall opposite the
present. After thirty-five years as an entrance. Young faces stare glazedly into
evocative filmmaker, he now works ex- the room at a faraway screen. Slightly
clusively with video and computers. off to the side, Oursler's"mutation pile"
[Chris Markerhas inspiredartistsaround sits on the floor. This mound of stuffed,
the world for more than forty years. SalvationArmy hand-me-downs is given
Such works as La Jetdeand Last Bolshe- new life with video. His outlandish
vik are internationally acclaimed as clas- effigies emitting raw emotion are ci-
sic examples of experimental film and phers. Viewers can endow them with
videomaking.] their own feelings, or chuckle and re-
main at a distance. The artist provides
Marcel Odenbach (Cologne). Make a an enchanting opportunity to tap into
Fist in the Pocket,1994. what is so basic but unresolved at the
human core. [Over the last fifteen years
German artist Odenbach is involved Tony Oursler has developed an original
with identity and vision. Make a Fist in type of surreal, video narrative. His
the Pocket is based on an old German work was included in the last Docu-
aphorism. It addressesthe rage seething menta, and recently he has had major
behind a calm public face. This compli- one-person shows in Frankfurt, Lon-
ant facade maintains order. Following don, Paris, and Salzburg.]
the leader also fosters a preoccupation
with stylish appearances. His installa- Bill Viola (Long Beach). Slowly Turning
tion explores the tensions caused by Narrative,1992.
social ruptures. A quotation on the
entrance wall is from Ingeborg Bach- Viola is a formalist who has developed a
mann. This young Austrian writer, who distinctive vocabulary to investigate the
died twenty years ago, was taken up by most primal emotions common to us
student radicals in late 1960s and now all. In the center of Slowly Turning
again in the 1990s. The artist looks Narrative is a twelve-foot wall, rapidly
back wistfully, frustrated by the lack of rotating on its axis. One side is mir-
focus in the world today. [For more rored, the other is matte. Projected onto
than fifteen years, Marcel Odenbach the revolving wall in black-and-white
has exhibited his media work exten- an immense visage stares fixedly. It is
sively in Europe and abroad. He has the artist's tired face, gazing inwardly.
several major retrospectives in Europe From the opposite side of the room, a
this year.] colored image is also projected onto the
revolving wall. It is a disorienting pan-
LONDON / VideoSpaces * 19