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Douglas Gordon

https://www.youtube.com/watch?v=n3mm-LNkmXU video installation

with Douglas Gordon

I think it's supposed to be about provoking enough of a memory that

people take it away and do their own thing with it. For me, artwork... is
something that you should be able to take awayyou don't have to be
present in front of it, and that's the potency of the artwork when it works.
Douglas Gordon

In Phantom (2011), Gordon, collaborating with singer/songwriter Rufus

Wainwright, examines grief and longing in a sonic and visual requiem.
Expanding upon his use of portraiture as a tool for investigating the
human condition, Gordon employs slow-motion film produced with a high-
speed Phantom camera. The film focuses on Wainright's eyeblackened
with make-up, weeping, and glaring back at the viewer, echoing
melodramatic performances by stars of the silent screen. On stage in front
of the screen, a baby grand piano stands over another piano that has
been burnt to ashesa recurring symbol for Gordon that here might
allude to the cyclical nature of life. Meanwhile Wainright's voice,
accompanied by resigned piano chords, permeates the space during the
daytime, while in the evening his silent gaze looks out plaintively at
passersby on Park Avenue. The death of Wainwright's mother inspired the
2010 album All Days Are Nights: Songs for Lulu, the soundtrack for this
installation, and its opening track, Who Are You New York?, is a direct
engagement with visitors and their surroundings. Gordon foregoes any
specific narrative for poignant emotional triggers that sharpen over the
passing minutes, transforming the gallery into an afflictive mise-en-scne
that resonates differently with the experiences of each viewer.

He has also recorded tracks specially for films,

including Brokeback Mountain, I am Sam, Moulin
Rouge!, Shrek, Meet the Robinsons, Big
Daddy, Zoolander, and Leonard Cohen: I'm Your
Man. His recording of "Bewitched, Bothered, and
Bewildered" plays during the closing credits of the
film The History Boys. He is seen in the Denys
Arcand film, Lge des tnbres, performing
two arias.

24 hour psycho


24 Hour Psycho is the title of an art installation

created by artist Douglas Gordon in 1993. The work
consists entirely of an appropriation of Alfred
Hitchcock's 1960 Psycho slowed down to
approximately two frames a second, rather than
the usual 24. As a result, it lasts for exactly 24
hours, rather than the original 109 minutes. The
film was an important work in Gordon's early
and is
said to
to his
work, such as "recognition and
repetition, time and memory,
complicity and duplicity,
authorship and authenticity,
darkness and light."

Tony Oursler

Tony Oursler (born 1957) is an American multimedia and installation

artist. He completed a Bachelor of Fine Arts at the California Institute for
the Arts, Valencia, California in 1979. His art covers a range of mediums
working with video, sculpture, installation, performance and painting. The
artist currently lives and works in New York City. He is married to painter
Jacqueline Humphries

Tony Oursler is known for his fractured-narrative handmade video tapes

including The Loner (1980) and EVOL (1984). These works involve
elaborate sound tracks, painted sets, stop-action animation and optical
special effects created by the artist. The early videotapes have been
exhibited extensively in alternative spaces and museums, they are
distributed by Electronic Arts Intermix.[8] His early installation works are
immersive dark-room environments with video, sound, and language
mixed with colorful constructed sculptural elements. In these projects,
Oursler experimented with methods of removing the moving image from
the video monitor using reflections in water, mirrors, glass and other
devices. For example, L-7, L-5, exhibited at The Kitchen in 1983, used the
translucent quality of video reflected on broken glass.

Aros face to face



The face-to-face collection was installed by Tony Oursler and is an

example of how he uses video installation as an extension of his work, this
is done by using objects to block the projections path, and this disfigures
the images and makes them look 3D on contact with the curved objects.

Tony Oursler Face to Face


By Tine Schmidt Haislund Jensen

ARoS Kunstmuseum, Denmark

3. March 29. July 2012

What defines genius, and what is madness? In Face to Face, Tony
Oursler challenges our understanding of the human mind and its
capability to transform from one extreme to another. Working with film
media since the 1970s, Oursler distorts the frame and form by projecting
his films onto sculptures, puppets and water, creating abnormal faces and
creatures that talk to the audience.

Ourslers use of untraditional forms and materials as background settings

for his films is clearly demonstrated in Face to Face. Cyc, a sculptural
canvas shaped by two balls set on top of each other, is a great example of
how Oursler communicates with his audience. The top part shows one of
the artists eyes wearing thick blue make-up, while the bottom part is the
artists mouth kissing us. Although primitive in form, the idea of a face is
created. The soundtrack is Ourslers voice, letting us know how much he
loves us.

Through these talking forms and fractions of faces, a sense of being

bombarded with emotions is inevitable, and that is just what Oursler
wants. Some of the faces want to talk to us and engage in a conversation
with us, while a comet is complaining about heat. Others are shy and get
nervous around us. This constant communication, that is forced to be one-
way, creates a claustrophobic atmosphere and a sense of unease. Oursler
manages to create a universe that borders on schizophrenia and madness,
but at the same time establishes meaningful and lovable characters.

A particularly disturbing emotion is created in Ourslers Eyes. In a dark

room Oursler has placed small screens hanging from the ceiling, each of
them showing a film of an eye. A feeling of being watched from all sides
creates an unsettling emotion, but after a closer look, none of the eyes
are actually looking straight at you. This forces the question: Who is
looking at whom?

Tony Oursler is famous for these mind-twisting characters, and for his
challenging attitude towards film, form and space. Oursler is a well-
established artist and his works can be seen around the world. Although
each work represents itself powerfully enough, it is spectacular to be
allowed to experience such a large collection of his works in one
exhibition. The curators have managed to let Ourslers works explain their
reasons for being, by allowing the visitor to walk through a stream of
conversations with the artworks themselves. This ongoing conversation,
with such a large amount of artworks, naturally creates an understanding
not only the artworks, but of Oursler himself.
The combination of hysteria, humour, schizophrenia and madness is
beautifully entwined and allows us to become part of each emotion. We
are allowed to test our own borderline emotions in a safe, but absolutely
mad environment.


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