Magazine article Artforum International

Nora Schultz: Nora Schultz Is a Berlin-Based Artist. Here, She Focuses on Works of an Autobiographical Nature

Magazine article Artforum International

Nora Schultz: Nora Schultz Is a Berlin-Based Artist. Here, She Focuses on Works of an Autobiographical Nature

Article excerpt

1 MICHEL LEIRIS, L'AFRIQUE FANTOME (PHANTOM AFRICA), 1934 "October 27--The mask that I had taken, during the large post-funeral rites, to be the 'marabout' mask is in fact a caricature of a European woman. Her long loose hair, impeccably parted at the top of her head by cowry shells, her hood made of black fibers, her blue bubu, her notebook representing an enthusiastic tourist taking notes, distributing banknotes to the dancers, wandering all over, going into ecstasies, etc.... At the beginning of our stay, the people didn't dare tell us. Now that they are more familiarized, we've learned it.*

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'Ambibe Babadyi misses the golden age before the French occupation, when masks were much more numerous, stronger and more beautiful.'

* A third crosscheck ultimately taught us that this mask was indeed the 'marabout' mask, and not the 'European woman.'"

2 FERDINAND KRIWET, TRANS-SCRIPT 2005-2007 Kriwet produced this body of work, which consists of eighty "book-objects" in three wooden containers, after a production break of almost thirty years. Combining reproductions of early works, texts, photographs, and personal documents, Trans-Script is both an artistic archive and a personal diary. The reproductions, made by the artist mostly on transparent paper, are bound together in a manner that takes into account theme and pictorial interaction; such attention to order also informs the placement of the books within the containers. The specific decisions a work like this requires when presented in a gallery space were visible recently at BQ in Cologne: The gallery exhibited pages of Trans-Script as a digital animation on monitors hanging next to the containers--a presentational choice that doesn't hide its influence on the work's reception. For a small accompanying publication, several pages from Trans-Script were chosen and set into still another order that in this case was defined by the gallery in cooperation with the artist, thus further extending Trans-Script's specific systems of order for its showing at BQ.

3 A BIGGER SPLASH (1974) A quasi-documentary, directed by Jack Hazan, about David Hockney's life and his decision to move to Los Angeles, this film features, among others, Hockney, Peter Schlesinger, fashion designer Ossie Clark, and his wife, Celia Birtwell, all "playing" themselves. The best biographical movie about an artist I've seen.

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4 JOSEPHINE PRYDE AND SARAH STATON, "HOW THEY MET," GALERIE BLEICH-ROSSI/GALERIE GABRIELE SENN, VIENNA, 2008 An exhibition in two parts about the history and friendship of the two artists. Titled as states of mind (Ambivalence, Motivation, Aching), Pryde's photographic portraits are, given the specificity of their pictorial qualities, themselves active characters. By not only indicating but also acting (aggressively, in a positive manner), these pictures stretch portraiture in a very material way. Staton's sculptures, which screw and cut their ways through space--massive and elegant, handmade and distant--partly remind me of furniture depicted in images of past environments, abstracted through memory, roughly rematerialized, and magnified. The communication between these two artists' works is too complex to capture within a gallery's confines and is literally growing beyond them.

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5 MARYANNE AMACHER, GRAVITY--MUSIC FOR SOUND JOINED ROOMS SERIES, 2006 A vertical sound installation in different chapters that took place in Singuhr-Hoergalerie, a sound-art gallery housed in a former church in Berlin. …

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