Chantal Akerman
Andrea Bowers
Rineke Dijkstra
Cheryl Donegan
Mona Hatoum
Lucy McKenzie & Paulina Olowska
Tracey Moffatt
Gary Hillberg
Ulrike Ottinger
Ryan Trecartin
Rosemarie Trockel
T.J. Wilcox
Patrizia Dander
From Annemiek to Mother Courage. Dating from the mid-1970s and later, the films presented in the exhibition - from the Goetz Collection - reflect the discourse of the feminist movement, particularly feminist film theory. With works by Chantal Akerman, Andrea Bowers, Rineke Dijkstra, Cheryl Donegan, Mona Hatoum, Lucy McKenzie & Paulina Olowska, Tracey Moffatt, Ulrike Ottinger, Ryan Trecartin, Rosemarie Trockel, and T.J. Wilcox.
curated by Patrizia Dander
In the 1990s, when Ingvild Goetz began to systematically collect
media art, the theoretical foundations for gender studies – now
familiar through comparative literature, cultural studies, and
related disciplines – were first being established. The works
Goetz acquired for her media art collection reflect the keen
interest in these issues at the time. Dating from the mid-1970s
and later, the films presented in the exhibition reflect the
discourse of the feminist movement, particularly feminist film
theory.
The title of this fifth presentation of works from the Goetz
Collection at Haus der Kunst is borrowed from an early video work
by Mona Hatoum (1983) and is based on the material of a
performance that was broadcast live via satellite between Vienna
and Vancouver. Because of the technical limitations at the time,
the close-up image of a woman's face transformed into a new image
only every eight seconds. While Hatoum's voice repeats the words
"So Much I Want to Say" on the soundtrack, the images depict a
woman's face being obscured by men's hands. Hatoum was born in
Lebanon and lives in London. In her work, she explores how
individuals are socially marginalized and silenced because of
their origin and gender.
With her piece "Letters to an Army of Three" (2005), Andrea Bowers
addresses a classic 1960s feminist issue – the commitment to
legalize abortion. The "Army of Three" consisted of three
activists working in the San Francisco Bay area who, from 1964 to
1973, advocated abortion and helped those affected by providing
them with a list of physicians. The composition of monochromatic
backgrounds, each with different floral arrangements placed on a
table, is reminiscent of eighteenth- and nineteenth-century
portrait painting. Seated facing the camera, actresses and actors
each read one of 31 letters from men and women who describe their
plights and ask for help in terminating their pregnancies. Each
bouquet is unique and individually designed to represent the
spectrum of individual fates. The succession underscores the fact
that unwanted pregnancies are not just exceptions sanctioned by
the law and society.
Tracey Moffatt's and Rosemarie Trockel's contributions focus on
breaking open gender roles. Moffatt is concerned with the
diminished representation of women, particularly of women of
color, in films. In her video collage "Lip" (1999), produced with
Gary Hillberg, she strings together scenes from Hollywood
productions. In the role of the attendant the colored women merely
have the choice of being either attentive and submissive, or
negligent and insubordinate. The video's title refers to the
expression "to give lip", i.e. to talk back. The film's pointed
editing exposes the inadequate one-dimensional view of the
characters.
In "Nice Coloured Girls" (1987), Moffatt exhibits the cinematic
techniques employed to represent power relations by reversing
gender stereotypes. Her video is a counterpoint to a paradox
addressed by film theory: Although women are ubiquitous in movies,
they occupy determining roles far less often than do men. In "Nice
Coloured Girls", three Australian Aborigine women hook a drunken
white man, their "captain". They eat, drink, and amuse themselves
at his expense only to steal his wallet in the end and disappear
in a taxi. They are the actors who degrade the man to an object.
The alternation between subtitles and a male voice from the off
corresponds to a change in narrative levels. The speaker
represents the position of the male colonizers in the 18th
century, whereas the subtitles comment on current events as seen
from the perspective of women who rise above gender entrapment,
role models and submission.
Rosemarie Trockel's "Fan 1-6" from 2000 examines the veneration
cult surrounding Brigitte Bardot. In a series of short scenes that
directly or indirectly depict Bardot, Trockel unfolds the
contradictions of this figure with subtle humor. While Bardot
sings of her desires in the song "Mr. Sun" (1968) – "only you
understand how lonely I am" – the camera pans around an old-
fashioned Heiliger-brand stove and several women step into the
role of Bardot, dramatically made up, as a child-woman, animal
rights activist, or seductress. "She has this quality of being a
model for everything," says Trockel about Bardot and the seemingly
limitless ideas projected onto her persona, who remains unaffected
by them.
With its plot structure of heroine, adventure, and homecoming,
Ulrike Ottinger's "Johanna d'Arc of Mongolia" (1989) resembles a
fairy tale. Four very different women meet on the Trans-Siberian
Railway – a Broadway singer, a secondary school teacher, an
ethnographer, and a backpacker. Their particular characters are
outlined in the interior of the train wagons. After the women are
abducted by a Mongolian princess and her female entourage, the
action moves outside and becomes a journey on foot and horseback,
with the kidnappers through the extraordinary natural beauty of
Inner Mongolia. Each woman reacts differently to the unknown:
Going on a hunt, living in yurts, witnessing events and rituals.
In the wilderness of the steppe and in the communion of the
kidnappers, the four women explore their self-image anew – in
terms of their careers, sexuality, and spirituality.
Works by female artists constitute nearly half of the pieces in
Ingvild Goetz's collection of media art. Significantly, Cheryl
Donegan's lustful video "Untitled (Head)" was Goetz's first
purchase. She acquired the work in 1993, the year it was created.
As a whole, the works in her media art collection represent the
key stages of feminist discourse since the 1970s.
Exhibited works:
Chantal Akerman, Selfportrait/Autobiography: a work in progress,
1998; with excerpts from her films: Hôtel Monterey (1972), Jeanne
Dielman, 23 quai du commerce, 1080 Bruxelles (1975), Toute une
nuit (1982), D'Est (1993)
Andrea Bowers, Letters to an Army of Three, 2005
Rineke Dijkstra, Annemiek, 1997
Cheryl Donegan, Untitled (Head), 1993
Mona Hatoum, So Much I Want to Say, 1983
Lucy McKenzie & Paulina Olowska, Oblique Composition III, 2003
Tracey Moffatt, Nice Coloured Girls, 1987
Tracey Moffatt & Gary Hillberg, Lip, 1999
Ulrike Ottinger, Johanna d'Arc of Mongolia, 1989
Ryan Trecartin, What's the Love Making Babies For, 2003
Rosemarie Trockel, Fan 1-6, 2000; Manus Spleen IV, 2002
T.J. Wilcox, Das Begräbnis der Marlene Dietrich (The Burial of
Marlene Dietrich), 1999
Image: Ulrike Ottinger, Johanna d'Arc of Mongolia, 1989. 1-Kanal-Video, Farbe, Ton; 35-mm-Film übertragen auf DVD, Nr. 70 fortlaufend nummeriert ab Nr. 100, aber keine Edition, 158'. Courtesy Sammlung Goetz
Haus der Kunst
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Prinzregentenstrasse 1
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Press Viewing Thursday, 18. April 2013, 11 am
Opening: Thursday, 18. April 2013, 7 pm
Haus der Kunst
Prinzregentenstraße 1 - 80538 Munich
Opening Hours
Thu 10 am — 10 pm
Fri – Sun 10 am — 8 pm
Admission 5 €
under 18 2 €
children under 12 free
Combined ticket
2 exhibitions 12 € / reduced rate 10 €
3 exhibitions 15 € / reduced rate 12 €