The Cardiff-born artist’s rhythmically edited medleys bring together self-shot digital and found VHS footage, nature and pornography, art-historical and instructional material.
The art, we’re assured, will variously perform ‘the archive... And it will create ‘critical intimacy’ between art and viewer.Like archive-riffling contemporaries Luke Fowler and Duncan Campbell, then, he misleads only to remind us of what – the objective documentarian view, footage’s fidelity to history – we’d be naive to trust. en date dk Glostrup Chih-Hung Liu, Coastal Woods in Aurora, 2016, oil painting on canvas, 55 × 88 cm.Clemens von Wedemeyer, Otjesd (still), 2005, 16mm film transferred to digital file, colour, sound, 15 min (loop). Courtesy Galerie Jocelyn Wolff, Paris One more filmmaker purposefully pulping fact and fiction, you say? Clemens von Wedemeyer’s first institutional German solo show rewinds through the career of an artist many first clocked at Documenta 13 in 2012, where his three-screen Muster (Rushes) (2012) explored the history of a Benedictine monastery near Kassel, turned consecutively into a prison, a concentration camp, a reformatory and a psychiatric institution, the story part-fictionalised so that art might be, as Picasso famously had it, the lie that tells the truth – or might be, might not.Earlier, von Wedemeyer had made works such as the nine-part The Fourth Wall (2009, shown at London’s Barbican), which ran the story of a group of possibly unsullied modern-day primitives in the Philippine rain-forest through a Brechtian filter, and Von Gegenüber (From the Opposite Side) (2007), a pseudo day-in-the-life documentary about a railway station, spiked with fictional episodes.
Secret dating Remscheid
Richards often carries parts of one film over to another.For his ICA show, though, which premiered at Bergen Kunsthall and is headed for Hanover’s Kestnergesellschaft, he’s turned properly cannibalistic.Tillmans likes using both languages to name his art. “I use German when a title isn’t a real title in that it actually bestows another reading or meaning onto a work, or adds a poetic note,” he told Phaidon.What we see, they insist, is finessed by what we just saw, by what comes next, by soundtracks (Richards, as his standalone audio pieces confirm, is also an accomplished sound artist) and by the quiddities of contemporary technology.
Along the way, they speak of how the self might speak through secondhand materials.Damián Ortega, Eroded valley (detail), 2016, red bricks, dimensions variable. Courtesy the artist Damián Ortega’s Cosmic Thing (2003), the Mexican artist’s most famous work, is an exploded Volkswagen Beetle meticulously deconstructed by assistants and strung from wires; a couple of years ago, he told The New Yorker that he did this to show the complexity of systems, the interdependence of their parts (we paraphrase).In the same interview Ortega also showed off his tool collection, and tools and systems are what characterise his Fruitmarket exhibition.Richard Prince re-ignited the debate when he reproduced the image for his exhibit at the Guggenheim in New York in 2007 and at the Tate Modern in 2009 (it was only at the Tate that it was removed after protesters claimed that it would attract paedophiles).And while Prince reprinted other people’s Instagram photos for , Tillmans is totally pro-Prince.