That’s fine, we could start like this. I tell them, I don’t like it. Far too complicated. You never understand what’s happening. You never understand what you are doing yourself. There’s too much ...
Between the image, which is the most banal image imaginable - a refrigerator, a man in his car - and in contrast an oral narrative which opens onto the world of the imagination, the video tape creates a dialectic between the inherent structures of the artwork and the viewer's horizon of expectation. "The ambiguity of hesitating between form and content, between being humorous and being serious" is here manifested in the gap between the finished image and its original context, and between the video apparatus and the subject being studied.Marion Hohlfeldt 2002
Videotape, U-matic, color, sound, 18 min
Production: Western Front, Vancouver
Courtesy Vidéo les Beaux Jours, la Maison de l’Image, Strasbourg and imai, inter media art institute, Düsseldorf
Hamburger Bahnhof, Museum für Gegenwart, Berlin.
Musée National d'Art Moderne, Centre Georges Pompidou, Paris.
Düsseldorf 1988 (Wien 1988/1989. Paris 1989. Hamburg 1989. Saint-Étienne 1989). Genève 1999. Essen 2002. Paris 2002 (Strasbourg 2002. Liechtenstein 2002)
I: Bielefeld 1985, pp. 136-138. Düsseldorf 1988, pp. 54-57. Genève 1999, pp. 47ff. Essen 2002, pp. 108-109. Paris 2002, p. 91
(1) See Jochen Gerz, Texte, pp. 136-138 (Bielefeld 1985) for the English text.
(2) For the French translation see Jochen Gerz, De l’art, textes depuis 1969, pp. 273-275 (Paris 1994 b).