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9/3/2011

Michel Auder

Galleria Fonti, Napoli

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La galleria Fonti è lieta di presentare “the Endless Column and Narcolepsy”, seconda mostra personale di Michel Auder a Napoli. La mostra si compone di due video: Narcolepsy, proiettato nella seconda stanza della galleria, e Endless Column, nella prima stanza. Nell’ufficio della galleria saranno esposte due selezioni di fotografie, una tratta dai video Narcolepsy e Endless Column, un’altra dall’archivio dell’artista.

Nel corso degli anni, Michel Auder ha girato migliaia di ore di video e l’uso apparentemente inesauribile del video comunica l’impressione di un’infinita registrazione del reale che cancella i confini tra esperienza, memoria e rappresentazione. Il risultato è una particolare riflessione sul modo in cui le tecnologie della rappresentazione mediano le storie collettive e individuali. L’archivio di materiale girato, che Auder ha accumulato e continua ad accumulare, costituisce la fonte per la creazione di opere a sé stanti, la cui durata può variare da pochi minuti a diverse ore. Con il trascorrere del tempo, alcune situazioni, persone, immagini sono rivisitate, modificate ed estratte dall’archivio. Le cronache, pertanto, mutano necessariamente nel tempo. Questo processo di recupero del ricordo non riguarda la riproposizione del passato, ma la sua ri-narrazione e i processi della memoria: osservare dal presente momenti del passato e ricercare un modo per raccontare storie, per comunicare.

Il video Narcolepsy si compone di molteplici livelli di immagini sovrapposte che ruotano attorno alla figura di una giovane donna addormentata che fa da sfondo a immagini irreali di lupi, conigli, acqua e bambini. L’opera è realizzata con dodici livelli sonori e con immagini a bassa risoluzione che richiamano il girato in Super 8.
«Narcolepsy rientra nel genere d’avanguardia film-come-sogno, ma nessun altro paesaggio irreale cinematografico presente in film o video riesce ad essere simile o a mescolare l’intensità e l’effimero in maniera così inquietante»1.

Il video Endless Column, è un enorme collage di oltre mille immagini scattate da Auder con il proprio telefono cellulare. Il flusso senza fine di fotografie è scandito dal suono prodotto da una tastiera per computer che l’artista usa come se fosse un pianoforte, creando così una musica astratta che segue le immagini. Stilisticamente, Auder non è tanto interessato a catturare gli eventi, quanto alla rivelazione di essi, così che il soggetto di una data situazione possa esprimersi inconsapevolmente attraverso i numerosi dettagli del contesto in cui viene ripreso.

1) Amy Taubin, Man with a camera, Artforum, November 2010

Michel Auder è nato a Soissons (Francia) 1945. Vive e lavora a New York.

Mostre Personali Selezionate: 2010: The World Out of My Hands, Lund Konsthall, Sweden; Keeping Busy: An Inaccurate Survey of Michel Auder, Zach Feuer Gallery, Newman Popiashvili Gallery & Participant Inc, New York; Michel Auder, Diner is Served Krabbesholm, Skive, Denmark; 2009: Heads of Town, ScheiblerMitte, Berlin; Michel Auder Survey, Cubitt Gallery, London; The Feature ,MoMA NY; 2008 Peace Among Topographers, Newman Popiashvili Gallery, New York; European Kunstahalle, Cologne, Germany; 2007: Extra City, Antwero, Belgium; Dope and Narcotica Series, Galleria Fonti, Naples; 2006: Yvon Lambert, Paris; Midway Contemporary Art, Minneapolis, MN; The World Out of My Hands, Newman Popaishvili Gallery, New York; 2005 Retrospective at 11th Biennial of Moving Images, Geneva, Switzerland; Michel Auder: Viewer and Participant, Friche la Belle de Mai, Marseille France; 2003 Michel Auder: Secret Sharer, Participant Inc., New York; 2002 Michel Auder: Retrospective 1969-2002, The Renaissance Society at the University of Chicago; 2001 Michel Auder: Video, Film, Photography 1969-2001, Rooseum Center for Contemporary Art Malmo, Sweeden
Mostre Collettive Selezionate: 2010 Which Witch is Which? and/or Summertime, White Flag Projects, St. Louis, MO; Fresh Hell, Palais de Tokyo, Paris; Strange Comfort, Kunsthalle Basel, Switzerland; 2009 The Feature, Antrhology Film Archive and MoMA; 2008: BB5, Fifth Berlin Biennial V, Berlin; 2007: Alain Robbe-Grillet: Art, Architecture and Cinema, Serpentine Gallery, London; 2006; The Downtown Show: The New York Art Scene, 1974-1984, Grey Art Gallery, New York; 2004; The Future has a Silver Lining, Migros Museum, Zurich, Switzerland; Prêts à prêter, Frac Provence-Alpes-Côte d'Azur, Marseille, France; 2000: The Whitney Biennial, Whitney Museum of American Art, New York

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Fonti Gallery is pleased to present “the Endless Column and Narcolepsy”, Michel Auder’ second solo show in Naples.
The show is composed of two video: Narcolepsy projected in the second room of the gallery and Endless Column projected in the first room.
A selection of photos taken from the videos Endless Column and Narcolepsy, together with a selection of photos taken from the artist’s archive are showed in the gallery’s office.

Over the years, Michel Auder has recorded thousands of hours of video. This seemingly indefatigable use of video provokes a sense of infinite coverage, ostensibly effacing the distinction between experience, memory, and representation, and consequently brings further attention to the way technologies of representation mediate individual and social histories. The archive of footage he has amassed, and continues to collect, provides the source material from which discrete works are created, ranging in length from under five minutes to several hours
As time passes, certain situations, people, and images are revisited, edited, and released from the archive, so the chronicles necessarily change with time. This process of explicit recollection is not about retrieval as much as it is about retelling the processes of memory: looking back from the present on events in the past and searching for a means to tell stories, to communicate.

The video Narcolepsy is made up of multiple layers of superimposed imagery that revolves around the figure of a young woman asleep who becomes the backdrop for more dreamlike images of wolves, rabbits, water, and children. The work is realized with twelve layered tracks of sound and with low resolution pictures that recall Super 8 film.
«Narcolepsy fits into the avant-garde genre of film–as–dream, but no other cinematic dreamscape in film or video looks quite like it or mingles the fierce and the ephemeral in such a quietly unsettling manner»1.

The video Endless Column is a huge collage of over a thousand pictures taken by Auder using his mobile phone. The endless flow of pictures is scanned by the sound of a computer keyboard that the artist uses as a sort of piano, creating an abstract music that follows the images. Stylistically, Auder is not so much interested in capturing events as much as he is allowing them to unfold so that the subject of a given situation can express itself unconsciously through the many details of the context in which he is recorded.

1) Amy Taubin, Man with a camera, Artforum, November 2010

Michel Auder was born in Soissons (France) 1945. Lives and works in New York.

Selected Solo Show: 2010: The World Out of My Hands, Lund Konsthall, Sweden; Keeping Busy: An Inaccurate Survey of Michel Auder, Zach Feuer Gallery, Newman Popiashvili Gallery & Participant Inc, New York; Michel Auder, Diner is Served Krabbesholm, Skive, Denmark; 2009: Heads of Town, ScheiblerMitte, Berlin; Michel Auder Survey, Cubitt Gallery, London; The Feature ,MoMA NY; 2008 Peace Among Topographers, Newman Popiashvili Gallery, New York; European Kunstahalle, Cologne, Germany; 2007: Extra City, Antwero, Belgium; Dope and Narcotica Series, Galleria Fonti, Naples; 2006: Yvon Lambert, Paris; Midway Contemporary Art, Minneapolis, MN; The World Out of My Hands, Newman Popaishvili Gallery, New York; 2005 Retrospective at 11th Biennial of Moving Images, Geneva, Switzerland; Michel Auder: Viewer and Participant, Friche la Belle de Mai, Marseille France; 2003 Michel Auder: Secret Sharer, Participant Inc., New York; 2002 Michel Auder: Retrospective 1969-2002, The Renaissance Society at the University of Chicago; 2001 Michel Auder: Video, Film, Photography 1969-2001, Rooseum Center for Contemporary Art Malmo, Sweeden
Selected Group Show: 2010 Which Witch is Which? and/or Summertime, White Flag Projects, St. Louis, MO; Fresh Hell, Palais de Tokyo, Paris; Strange Comfort, Kunsthalle Basel, Switzerland; 2009 The Feature, Antrhology Film Archive and MoMA; 2008: BB5, Fifth Berlin Biennial V, Berlin; 2007: Alain Robbe-Grillet: Art, Architecture and Cinema, Serpentine Gallery, London; 2006; The Downtown Show: The New York Art Scene, 1974-1984, Grey Art Gallery, New York; 2004; The Future has a Silver Lining, Migros Museum, Zurich, Switzerland; Prêts à prêter, Frac Provence-Alpes-Côte d'Azur, Marseille, France; 2000: The Whitney Biennial, Whitney Museum of American Art, New York

Immagine: Michel Auder, Cat Stranglers, 1978-2010, stampa fotografica, 190cm x 110cm

Inaugurazione: giovedi 10 marzo 2011 ore 19.30

Galleria Fonti
via Chiaia, 229 - Napoli
Orari. dal martedì al sabato ore 11 - 14 / 16 - 20

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