Artistic Affinity: Douglas Gordon

Slides

London born artist
images and languages – symbolism and signifiers
the concept of the 'other' recurring theme – disembodiment
grew up with television as a narrative for life
another theme: control of the artist – he puts his hand in works that are appropriated as well as directing the outcome of performances
deconstruction and reconstruction of meaning

casts of the artist's body
photographs himself with them yearly
comparison with self
change in body
finding a way to preserve youthfulness
don't we remember actors as the were (judy garland wiz of oz)
these are made of wax which is more fragile than the body

symmetry of the body
photographs of tattoos that show the negative of the body
pieces that fit into each other
the world is in constant change so forever can be taken to mean constant change or – never-
battle between the sensorial perception and the mind's rational
two arms that fight each other on the same body
alien hand syndrome
platonic idea the the mind is a white and black horse (that must be tamed)
film narrative of jeckyl and hyde
these are film and photo works – we are in a world that is platonized
the allegory of the cave
latin coat of arms:…
right side = good faith and fortune (dexter)
left side = sinister
us coat of arms

use of the sinister hand to depict evil
his desire to inflict harm
threatening
his ability to touch is changed… turn to stone
sensorial change
classified as his richest work
inspired by gang violence in england
shifting interpretations depending on viewer and context
i thought it was for race differences
tattoo no longer symmetrical body

over 1400 names
what happens when you forget important names
do people stop existing – disembodiment
bible names remembered over time

mundane communication turns into works of art
what occupies the space and how does it change your perception
what do you know and not know
a constant game of opposites and poles

Reflections take the shape of the room
it is a horizon line
not observing from a fixed viewpoint like cinema
can walk around and enter / exit
symmetry is a recurring theme

Music remains while images change
a type of work you enter and leave anytime
supposed to reffer to the lack of change as you enter / leave cinema
there is a gap between the film-concept and viewer
the viewer can therefor create a narrative for themselves
conducting an orchestra
fragmented self

No sound – only adds to its significance (the lack of sound)
Lasts 24h
mirror images = split personality
Slow down change narrative
alludes to the fact that cinema is made up of photographs that merge into a narrative in our minds
this makes a new narrative and shows difference with video art

elephant is a protagonist (film) at the mercy of external influences
is the actor able to perceive like humans
the size of the elephant vs the size of the projection
something rare and different
fragmented self
inspired from a story gordon heard about elephant caught on camera trampling people

'Splitting' theme here
social control that changes our relationships with people close and far

Zidane – 90 mins at cannes film fest
why is portrait confined to photography – or still mediums
display the subject for the public… this subject is always on camera
he becomes unaware of the camera's presence
are we almost at that point… what can change if we are?
17 cameras pointed at him only
fragmented portrait

Works Cited

Gordon, Douglas, and Klaus Peter Biesenbach, eds. Douglas Gordon : Timeline. New York: Museum of Modern Art, 2006.

Gordon, Douglas, Mirta D'Argenzio, and Giorgio Verzotti, eds. Douglas Gordon : Prettymucheveryword, Spoken, Heard, Overhead from 1989 — Voyage in Italy. Milano: Skira, 2006.

Gordon, Douglas, Russell Ferguson, and Michael Darling, eds. Douglas Gordon. Cambridge, Mass.: MIT Press, 2001.

Gordon, Douglas, and Ian Rankin, eds. Douglas Gordon : Superhumanatural. Edinburgh: National Galleries of Scotland, 2006.