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Sunday, July 26, 2019
SCREENING: L'âge d'or & Deep Gold
Re-enactments. Cinema a Palazzo Reale, The Royal Palace of Turin, Turin

Many artists have drawn inspiration from international cinema history in order to deconstruct the codes of cinematic language, to question the strategies of construction and representation of identity, to re-negotiate the spectatorial experience and – in a game of references, associations and appropriations – to create something radically new. Curated by Giovanna Fazzuoli and Giulia Magno within the framework of the Turin-based festival ‘Cinema a Palazzo Reale’, Re-enactments explores the intersections between cinema and the visual arts by bringing a selection of artists’ films into dialogue with the masterpieces of cinema history that – from Buñuel to Hitchcock, from Pasolini to Polański – inspired them.

On the closing night, a screening of Luis Buñuel’s L’âge d’or (1930) accompanied by live music will be followed by Julian Rosefeldt’s visionary hommage to the Surrealist masterpiece. The artist conceived Deep Gold (2013/2014) as a fictional insert in Buñuel’s original film, in which the two protagonists try to fulfil their lust for each other, but are constantly disturbed by various obstacles. Buñuel used the motif of amour fou to criticize the restrictions and conventions of the time: the Catholic Church, the political establishment, the bourgeois morality and the aristocracy. Interpreting the abrupt abandonment of the protagonist (Gaston Modot) by his beloved (Lya Lys) as an early and provocative feminist manifesto, Rosefeldt showcases a grotesque version of the ‘Golden Age’ dominated by an omnipresent female sexuality. After attempting suicide by jumping out of a window, Rosefeldt’s Modot awakes in a foggy street – a surrealistic environment rife with bars, brothels, prostitutes, hustlers and naked people strolling around shamelessly.

For further information see: www.blackboxcurating.com


Julian Rosefeldt, Deep Gold, 2013/2014 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2019

 

July 20 – August 9, 2019
The Middleman, the Backpacker, the Alien Species and the Time Traveller
Tina Keng Gallery, TKG+, Taipei (group show)
 
This exhibition at Tina Keng Gallery's contemporary platform TKG+ compromises four themes: the middleman, die backpacker, the alien species, and the time traveller. Each participating artist has been asked to select works, that echo the themes in hopes of tracing thr trajectory of globalization throught the eyes of the four characters. Together the artists' diverse body of work paints a cornucopian vision of film-genre adventures.

Julian Rosefeldt presents two single-channel film works: Lonely Planet (2006) and The Swap (2015). Lonely Planet shows the stereotype of a western backpacker in India on his odyssey through a world of interlocking backdrops. His journey takes him from romanticised motifs to the slums of Bombay, where the scene suddenly shifts from a fictious narrative to the reality of a filmic setting: the tourist emerges as a performer amongst cameras and spotlights; the dirty metropolis gives way to the artificial and illusory atmosphere on the set; a putatively authentic India reverts to the realm of Bollywood.

The Swap appears to parody a scene from a classic gangster film of covert dodgy dealings, yet Rosefeldt's manipulation thrusts it into contemporary realisty. Set at a deserted container terminal, two rival mobs pull up in cars, about to perform the familiar briefcase exchange of concealed goods. Clad in leather, guns poised; Rosefeldt plays once again with our stereotypical expectations, luring the viewer into a sense of familiarity until an unpredictable turn challenges our perception and exacerbates seemingly subtle aspects of their behaviour.
 
For further information please see: www.tinakenggallery.com
 
Julian Rosefeldt, Lonely Planet, 2006 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2019
 
 
June 15, 2019 – January 5, 2020
MANIFESTO. Art x Agency
Hirshhorn Museum and Sculpture Garden, Washington DC
 
Manifesto: Art x Agency is a group exhibition that examines the art historical impact of artist manifestos from the 20th century to present day. Organized by the Hirshhorn’s Chief Curator Stéphane Aquin, Manifesto: Art x Agency also marks the Washington, D.C., debut of German artist Julian Rosefeldt’s multichannel film installation, Manifesto, presented alongside a diverse selection of works from the museum’s permanent collection. Comprising more than 100 works of art and ephemera created over a hundred-year period, Manifesto: Art x Agency explores how artists used manifestos to engage with the political and social issues of their time and how contemporary practices still employ art as a tool in the making of history.
 
For further information please see: www.hirshhorn.si.edu
 
Julian Rosefeldt, Manifesto, 2015 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2019
 
 
April 19 – September 29, 2019
Julian Rosefeldt. In the Land of Drought
National Gallery of Victoria, Melbourne (solo show)

The NGV presents the Australian premiere of Julian Rosefeldt’s latest work, In the Land of Drought 2015/2017.

Shot entirely by drone in Morocco and Germany, In the Land of Drought 2015/2017 is set in an imaginary post-Anthropocene world and confronts the relationship between humanity and its impact on the world. The camera’s bird’s-eye view observes an army of ‘scientists’ emerging to investigate the archaeological remnants of civilisation after humanity has made itself extinct. Composed of meditative images and atmospheric sounds, the immersive 43-minute film resonates with current concerns about environmental damage and climate change.

For further information please see: www.ngv.vic.gov.au
 

Julian Rosefeldt, In the Land of Drought, 2015/2017 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2019
 
 
January 15 – November 2, 2019
Julian Rosefeldt: Manifesto
The Israel Museum, Jerusalem (solo show) 
 
The 13-channel film installation Manifesto (2015) pays homage to the moving tradition and literary beauty of artist manifestos, ultimately questioning the role of the artist in society today. Manifesto draws on the writings of Futurists, Dadaists, Fluxus artists, Suprematists, Situationists, Dogme 95 and other artist groups, and the musings of individual artists, architects, dancers and filmmakers.
 
Rosefeldt’s work reveals both the performative component and the political significance of these declarations. Often written in youthful rage, they not only express the wish to change the world through art but also reflect the voice of a generation. Exploring the powerful urgency of these historical statements, which were composed with passion and conviction by artists many years ago, Manifesto questions whether the words and sentiments have withstood the passage of time.
 
For further information please see: www.imj.org.il
 
Julian Rosefeldt, Manifesto, 2015 © Julian Rosefeldt and VG Bild-Kunst, Bonn 2019