From Abigail to Jacob (Works 2004-2014)
Grazer Kunstverein , 03/15/2014 - 05/18/2014
ABOUT
In this year the Grazer Kunstverein continues its apart of reaction with different conceptions of social abstraction continued, presenting artists who explore with their work, the physical relationship to their environment and translate. Lisa Oppenheim 'From Abigail to Jacob (Works 2004-2014) ' In the last decade, the artist Lisa Oppenheim (b. 1975, U.S.) has consistently developed a unique body of work in which she explores the use of (historical) imagery.Located between appropriation and reconstruction based their work on replacements that come with film and photographic records are used that transmit History and the present and represent in a contemporary idiom. Their work could also be defined as an archeology of time and visual culture. By bringing undervalued, hidden archive material to light, Oppenheim builds a bridge between the perception of time and gives the material a new meaning. This procedure has celluloid works, films and photographs to the result, which communicate the past in the present and transform a meaningless document to a document. 'From Abigail to Jacob (Works 2004-2014)' is Lisa Oppenheim's first major work for an institution and spans over a production period of a decade. The work includes early prints and Diaproduktionen to more recent photograms and films. The exhibition is organized in collaboration with the Kunstverein Hamburg and the French art fund FRAC Champagne-Ardenne, Reims.Accompanying the exhibition, the first monograph of the artist, published by Sternberg Press. Lisa Oppenheim 'Smoke', 2013Looped double HD video animation Courtesy the artist, The approach and Gallery Juliètte Jongma The Members Library *"Cathay" by Lisa Oppenheim for their film installation Cathay (2010) found Oppenheim fragment of a poem that Pound from the notes of Ernest Fenollosa's probably from the translations of the Chinese poet Li Bai from the 8th Century had constructed. Fenollosa was an American scholar who lived in Japan. Neither Pound nor Fenollosa possessed actual knowledge of the Chinese language. Fenollosa created these and other fragmentary translations Pound later in the hugely influential anthology of poems Cathay - an obsolete term for China -. Transposed Oppenheim sent the original, untranslated version of the poem to a professor of East Asian languages and literature and was, as expected, a very different version back. The film moves slowly from Pounds to a translation, more correct 'or perhaps literal translation. The motion results from the replacement of words by corresponding scenes or objects that City were filmed in the visual area of Chinatown in New York. By transforming words back into images, the artist Pounds versa strategy of translation to. The left side of the double projection begins with Pounds poem as a whole, while the right projection shows a sequence of images. The images on the right are visual counterparts of expressions of the new translation, and only then match the text on the left side when both translations are similar. Images slowly replace the text on the left side and reverses to the end of the film when the left part consists entirely of images, the right, however, entirely of text. The poem is reassembled by his seven repetitions throughout, newly created.
For More Information
In this year the Grazer Kunstverein continues its apart of reaction with different conceptions of social abstraction continued, presenting artists who explore with their work, the physical relationship to their environment and translate. Lisa Oppenheim 'From Abigail to Jacob (Works 2004-2014) ' In the last decade, the artist Lisa Oppenheim (b. 1975, U.S.) has consistently developed a unique body of work in which she explores the use of (historical) imagery.Located between appropriation and reconstruction based their work on replacements that come with film and photographic records are used that transmit History and the present and represent in a contemporary idiom. Their work could also be defined as an archeology of time and visual culture. By bringing undervalued, hidden archive material to light, Oppenheim builds a bridge between the perception of time and gives the material a new meaning. This procedure has celluloid works, films and photographs to the result, which communicate the past in the present and transform a meaningless document to a document. 'From Abigail to Jacob (Works 2004-2014)' is Lisa Oppenheim's first major work for an institution and spans over a production period of a decade. The work includes early prints and Diaproduktionen to more recent photograms and films. The exhibition is organized in collaboration with the Kunstverein Hamburg and the French art fund FRAC Champagne-Ardenne, Reims.Accompanying the exhibition, the first monograph of the artist, published by Sternberg Press. Lisa Oppenheim 'Smoke', 2013Looped double HD video animation Courtesy the artist, The approach and Gallery Juliètte Jongma The Members Library *"Cathay" by Lisa Oppenheim for their film installation Cathay (2010) found Oppenheim fragment of a poem that Pound from the notes of Ernest Fenollosa's probably from the translations of the Chinese poet Li Bai from the 8th Century had constructed. Fenollosa was an American scholar who lived in Japan. Neither Pound nor Fenollosa possessed actual knowledge of the Chinese language. Fenollosa created these and other fragmentary translations Pound later in the hugely influential anthology of poems Cathay - an obsolete term for China -. Transposed Oppenheim sent the original, untranslated version of the poem to a professor of East Asian languages and literature and was, as expected, a very different version back. The film moves slowly from Pounds to a translation, more correct 'or perhaps literal translation. The motion results from the replacement of words by corresponding scenes or objects that City were filmed in the visual area of Chinatown in New York. By transforming words back into images, the artist Pounds versa strategy of translation to. The left side of the double projection begins with Pounds poem as a whole, while the right projection shows a sequence of images. The images on the right are visual counterparts of expressions of the new translation, and only then match the text on the left side when both translations are similar. Images slowly replace the text on the left side and reverses to the end of the film when the left part consists entirely of images, the right, however, entirely of text. The poem is reassembled by his seven repetitions throughout, newly created.
For More Information