Et ass schwéier, sech mat zäitgenëssescher, brittescher Konscht ze befaassen ouni iergendwann op d'Tacita Dean ze stoussen.
Als Member vun der Young British Artists-Beweegung huet si sech an de spéiden 80er nieft Contemporaine wéi der Tracy Emin an dem Damien Hirst een Numm gemaach. An enger grousser, monographescher Ausstellung weist de MUDAM elo puer vun hire rezentste Wierker.
Verschidde Phase vum Jenseits
D'Ausstellung setzt der Tacita Dean hir Multidisziplinaritéit en Valeur. An der Ostgalerie fält een op eng riseg Kräidzeechnung vun engem ëmgedréinte Bierg, eng Negativ-Foto vun engem Bam, an en abstrakte 35mm-Film mat orchestraler Ënnermolung.
All dës Wierker huet Kënschtlerin als Bünebild fir "The Dante Project", enger Ballet-Adaptatioun vum Dante Alighieri senger gëttlecher Komedie, geschaaft.
Fir dem Dante seng Transitioun tëscht de verschiddene Phase vum Jenseits ze verbildlechen, huet d'Tacita Dean op eng visuell Transitioun gesat: en neit Bünebild fir all Akt; eng Transitioun vun der Zeechnung bei de Film, vum monochrome bei dat faarwegt, vum konkrete bei dat abstrakt. The Dante Project war der Tacita Dean hir éischt Experimentatioun mat Set-Design, wat am Ufank eng Erausfuerderung fir d'Kënschtlerin war.
"I had never designed for a stage before, so it was a completely new experience for me. And so I set about it in completely the wrong way. I set about it with all the pre-sentiments and imagined prejudice one might have in thinking about how one needs to make a set on stage. And that went really, really wrong. And it took me a while to realise that actually I just need to try and work within my own comfort zone. You know, the first mistake I made was to put objects on the stage before realising that actually it was a ballet and they don't want objects on the stage. So all these restrictions worked as a sort of guide for the final thing."
Fir den zweeten Deel vun der Ausstellung reese mer vun der Ostgalerie vum MUDAM op d'Westküst vun Amerika. De Film "One Hundred and Fifty Years of Painting" an de Pavilion ronderëm sinn en Hommage un der Tacita Dean hir Walheemecht, Los Angeles.
Ëmkreest vu Biller vum kaliforneschen Himmel, gëtt hei eng spontan Konversatioun tëscht zwou Kënschtlerinnen, der Luchita Hurtado an der Julie Mehretu, gewisen.
Trotz Altersënnerscheed: änlech Erfarungen an eng änlech Geschicht
Wéi sou dacks an hirer Karriär war den Zoufall de leedende Faktor fir "One Hundred and Fifty Years of Painting". D'Erkenntnis, datt déi 100 Joer al Hurtado an déi 50 Joer al Mehretu sech e Gebuertsdag deelen, war de Katalysator fir d'Tacita Dean.
Ouni dësen Zoufall, wier de Film warscheinlech ni entstanen, sou d'Kënschtlerin.
"It's a perilous journey, but I trust in chance. And I trust in contigency. And I let it guide me. One Hundred and Fifty Years of Painting is just about the coincidence of the birthday. And you know: had it been one day before or one day after, I don't think I would've made the film."
Trotz dem plurigenerationellen Ecart ass et ee Film, deen zwou Frae mat enger ganz änlecher Geschicht, a ganz änlechen Erfarunge weist, seet d'Tacita Dean:
"Well, they're both painters. I mean, that's very specific. They're artists but they're painters. And that's very particular, I think because it's a very clearly defined profession: "I'm a painter!". They both arrived in America. So they're both immigrants to America. They're New Americans. That's a very important part of it too, and they both came - Julie was 8, and Luchita was 7. So they were both young. They're both the most generous and warmhearted women too, so their character is very similar. They have this generosity of spirit."
Asaz fir den analoge Film
Wann een duerch dës Ausstellung geet, bemierkt ee séier, wéie Medium der Tacita Dean um Häerz läit: de Film. D'Kënschtlerin setzt sech zanter Jore fir den Erhalt vun analogem Film an, dee laut hir lues a lues vun der Industrie vun digitale Moyene verdrängt gëtt.
Heibäi wier et wichteg Film net op Technologie ze reduzéieren, mee en als separate Medium fir kënschtleresch Expressioun ze gesinn. Ee Medium deen der Kënschtlerin um Häerz läit.
"Well, film is a beautiful medium. I learnt to use moving image with film, that was my medium. And then when the world decided that you could just replace it I actually said no because of all the qualitative and cultural differences between the two mediums. No one would've done the same with oil paint and digital imaging. Everyone understood that oil was different. And the difference is fundamental between the two mediums. You make a film differently, you show it differently."
Obwuel d'existenziell Bedreeung vum Film manner staark ass wéi virun e puer Joer, ass d'Tacita Dean nach ëmmer besuergt iwwer d'Zukunft vum Medium.
Déi rezent Reevaluatioun vun analoge Medien wéi Vinyl a Fotografie léisst der Kënschtlerin allerdéngs eng Drëps Optimismus.
"We've managed to pass that moment because of people understanding that you actually make different images with the two mediums. The money people are still very invested in digital. And that is a threat to cinema itself, unfortunately. But it's important for people to go and insist on watching some films as film. And then the more - just like kids are now buying vinyl - the more that people say "actually, I want to go and see Licorice Pizza as a 70mm projection", the more chance film has of surviving. So yeah, we're not safe... yet."
Obwuel se sech primär mat rezente Wierker vun der Tacita Dean beschäftegt, ass dëst eng Ausstellung, déi den Esprit an d'Leitmotiver vun der Kënschtlerin effektiv rëmgëtt.
