As the protagonist complains that other artists are appropriating her work, you are reminded of the ass imprints on Karlberg’s We’re All Equal Under the Laws of Exchange 1. In The Artist in Her Studio, Cajsa von Zeipel plays an artist shaping a Styrofoam replica of her assistant’s butt, driving a knife into the sculpture while its real-life model coos that she’s honoured to be her subject. In The Artist Installing, the drama hinges on the impending arrival of a critic before the show is ready the featured works hang in the room where the film plays – six letter-sized paintings of words like ‘death’ ( What Does It Mean to Be Human) or ‘brain gone’ ( What Does the Soul Desire), reminiscent of black-light posters. Karlberg invited seven artists and art workers to act out scenes that draw on their own experiences with the social conditions of art’s production. The film wryly suggests that we are all too eager for young artists to self-destruct. Friends reassure them that the risk was worth it. The artist, Antoine, repeatedly mentions nearly dying while making ‘the work I put my blood and sweat and tears into’. The art itself, of course, is not represented. In Marie Karlberg’s The Dinner (all works 2019 unless otherwise stated) – one of seven films included in ‘Illusion and Reality’ – you watch a low-budget parody of a celebratory post-show dinner: the guests sit around a makeshift table, sharing snacks, expressing disdain for an unexpected attendee, and asking clichéd questions about ‘the commodity form’.
0 Comments
Leave a Reply. |