Douglas Gordon

Douglas Gordon è nato a Glasgow nel 1966. Vive e lavora tra Berlino e Glasgow.

Opere nell’esibizione

24 Hour Psycho (1993), istallazione video, dimensioni variabili

Da Psycho. 1960. USA. Diretto e prodotto da Alfred Hitchcock. Distribuito dalla Paramount Pictures. © Universal City Studios.

Text from the essay ‘May we live in interesting times’.   ‘Fermiamo il tempo e scendiamo…’ by Deirdre MacKenna

La più grande opera della mostra, la video-installazione di Gordon 24 Hour Psycho (1993) è una versione del film Psycho di Alfred Hitchcock, del 1960, che è stata rallentata fino a durare 24 ore, trasformando ogni scena del film in una serie di singole fermo-immagini che si succedono una all’altra. La scala monumentale dell’opera seduce lo spettatore mentre confonde le sue aspettative di una conclusione riconoscibile; come parti senza una somma. Così come con tutte le opere di Gordon, abbiamo la possibilità di trovare bellezza e soggezione entro ogni fotogramma e ogni sfumatura, gradualmente realizzando allo stesso tempo che non riusciremo mai a cogliere il tutto da cui estrarre significato.

The largest work in the exhibition, Gordon’s video-installation 24 Hour Psycho (1993) is a version of Alfred Hitchcock’s 1960 film Psycho that has been slowed down to last 24 hours, turning each frame of this film into a series of unfolding single still images.  The monumental scale of the work seduces the viewer while confounding his expectations of a knowable conclusion; the parts without the sum. As with all of Gordon’s works, we enter into a possibility of finding beauty and awe within every frame and nuance, while gradually realising that we cannot ever grasp the whole from which to make meaning.

Gordon sceglie un’opera iconica di uno dei più influenti registi della cinematografia, da cui estrapolare nuove visioni nel medium del film cinematografico, e nel farlo svela le prospettive raccapriccianti di una famiglia distrutta e la vulnerabilità degli individui isolati. La protagonista è intrappolata in una stasi causata dal suo impulso a cambiare radicalmente le sue sorti; è alla deriva in un movimento proteso in avanti senza solidità o sicurezza e ha biogno di mettere indietro l’orologio. Gordon espande questo orrore all’infinito, un infinito da cui lo spettatore non può trovare né soluzione né fuga.

Gordon chooses an iconic work by one of the most influential directors of cinematic film-making from which to extrapolate new insights into the medium of cinematic film, and in doing so, demonstrates the horrific possibilities of a shattered family and the vulnerability of isolated individuals. The protagonist is trapped in a stasis brought on by her impulse to radically change her fortunes; she is adrift in a forward motion without substance or security and needs to turn the clock back. Gordon’s treatment expands this horror to an infinity, from which the viewer can find neither resolution nor escape.

 

Douglas Gordon was born in Glasgow in 1966. After receiving a B.A. at the Glasgow School of Art from 1984 to 1988, Gordon undertook a post-graduate program at the Slade School of Art in London from 1988 to 1990.  Gordon is a conjurer of collective memory and perceptual surprise whose tools include commodities and mechanisms of everyday life. Into a diverse body of work—which spans narrative video and film, sound, photographic objects, and texts both as site-specific installation and printed media—he infuses a combination of humor and trepidation to recalibrate reactions to the familiar. He was the recipient of the 1996 Turner Prize, the 1997 Venice Biennial’s Premio 2000 award, the 1998 Hugo Boss Prize awarded by the Solomon R. Guggenheim Museum, the 2008 Roswitha Haftmann Prize, and the 2012 Käthe Kollwitz Prize.

Gordon has had numerous solo exhibitions including “Black Spot,” Tate Liverpool (2000); and “Douglas Gordon,” Museum of Contemporary Art, Los Angeles (2001); In 2005, he curated “The Vanity of Allegory,” an exhibition at the Deutsche Guggenheim, Berlin and released the film Zidane: A 21st Century Portrait at the 2006 Cannes Film Festival before screenings at numerous international venues. Further solo exhibitions include “Pretty much every word written, spoken, heard, overheard from 1989…,” the MART, Museo di arte moderna e contemporanea di Trento e Rovereto, Rovereto, Italy (2006); “Superhumanatural,” National Galleries of Scotland, Edinburgh (2006); “Timeline,” Museum of Modern Art, New York (2006; traveled to MALBA Colección Costantini, Buenos Aires through 2007); “Between Darkness and Light: Works 1989–2007,” Kunstmuseum Wolfsburg, Germany (2007); “Blood, Sweat, Tears,” DOX Centre for Contemporary Art, Prague (2009); and “Pretty much every film and video work from about 1992 until now,” Musée d’Art Modern, Paris (2014). k.364premiered at the Venice Film Festival in September 2010, andHenry Rebel: Drawing and Burning premiered at Art Basel’s Art Unlimited in 2012. His film works have been invited to the Festival de Cannes, Toronto International Film Festival (TIFF), Venice Film Festival, and Edinburgh International Film Festival among many others.

Gordon was born in Glasgow and lives in Berlin. Douglas Gordon è nato a Glasgow e vive a Berlino.

http://www.lostbutfound.co.uk

 

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