STREET now open! Chicago | Los Angeles | Miami | New York | San Francisco | Santa Fe
Amsterdam | Berlin | Brussels | London | Paris | São Paulo | Toronto | China | India | Worldwide
 
Berlin

Autocenter

Exhibition Detail
VIDEODROME
Curated by: Aaron Moulton
Leipziger Strasse 56
10117 Berlin
Germany


June 4th, 2010 - June 18th, 2010
Opening: 
June 4th, 2010 8:00 PM - 10:00 PM
 
,
© Courtesy of Autocenter
> ARTISTS
> QUICK FACTS
WEBSITE:  
http://autocenterart.de
NEIGHBORHOOD:  
friedrichshain-kreuzberg
EMAIL:  
mail@autocenterart.de
OPEN HOURS:  
Thursday - Saturday, 4 pm - 7 pm
> DESCRIPTION

“I’ve lived my whole adult life talking about my life. I’ve lived in
front of cameras. And maybe I’ll die in front of them.”
—Quote taken from reality television superstar Jade Goody on her deathbed

“And therefore whatever appears on the television screen emerges as
raw experience for those who watch it.”
—Brian O’Blivion in Videodrome


AUTOCENTER is pleased to present the exhibition “Videodrome”. Using
Director David Cronenberg’s cult classic as a point of departure, the
exhibition examines the relationship between spectator and spectacle,
simulated realities, the condition of secondhand experiences in
contemporary living, hardcore sex, snuff, virtual selves, cultural
mash-ups, historical cut-ups, human slips and so on.

Upon its release in 1983, Videodrome was a prescient dissection of how
the mediated experience of TV — particularly reality TV — would become
a learning device towards grooming ritual and daily practice. In turn,
reality television’s voracious approach to serializing every waking
moment of human experience, no matter how absurd or inane, has made
any one of us into an unwitting participant of The Truman Show. This
reached an existential crescendo in spring 2009 with the late Jade
Goody, reality TV’s recent martyr. As a symbol Goody is an uncanny
doppelganger to Videodrome’s Brian O’Blivion, Cronenberg’s stand-in
for Marshall McLuhan, who states repeatedly how “the television screen
is the retina of the mind’s eye”. Much like O’Blivion’s fate, Goody’s
cancer-stricken body, under the bludgeoning scrutiny of the video
camera, was dematerialized into a pulp of television snow the moment
she expired.

With the advancement of home cinemas such as VHS, Betamax and
Video2000, a sudden and unknowable surplus of films and visual
information was generated. Immediately the result was lifetimes of
imagery that no one will ever see. After the birth of the video store,
this condition reached hyperbole with the advent of user-generated
content. This codex of tireless image production influences much of
who we are and what we are composed of as social beings.

In Michel de Certeau’s seminal book The Practice of Everyday Life from
1984, he pinpoints behavioral strategies of contemporary man as a way
to make us, the reader and ultimately the subject, become more
self-reflexive about our procedures for social engagement, leisure and
personal economy. One key concept is la perruque or “the wig,” a
French expression that references the way people figuratively wear an
outfit or disguise to make viewers believe that what they are seeing
is what they think it is. Forms of posturing or “imposturing” create a
slippage between real, projected and now televised selves in an
attempt to maintain expectations from daily behaviors for the
experience of the viewer.

From a point of posturing based on projection, this blurring of self
is reminiscent of 60s experimental filmmaker Jack Smith’s loosely
directed productions and the notion of the “human slip”. Smith’s films
capture awkward moments wherein actors sit in front of the camera
attempting to posture according to their mind’s eye and Jack’s
supposed expectations for “being” an unknowable and unscripted
character. The outcome is a teetering between this caricatured idea
and sudden moments of self-realization, the in-between liminal state
acting as this moment of slippage.

The works in Videodrome come together to make an ouroboratic machine
massaged by the medium it mimics. Reproductions of popular culture are
done through its self, asexually. We witness sublimation as a means of
mimicry. The outcome is a subliminal camouflage that, by referencing
the reference of a reference, eventually becomes some uncut simulacric
compound.

Image and icon production has reached a point of being completely
scrambled in terms of sequences of realization and consumption. The
results are parallel, simulated or even parasite realities each with
their own version and mash-up to boot eliciting an unquieting
collision of festering ambivalence and derealization. In terms of
cultural production the tendency might be described as “Karaoke
Conceptualism” which manifests as a form that is both conceptual and
physical, offers a mouthpiece for discourse, and like some form of
dementia allows us to repeat histories of any kind without risk or
foul. In effect, Videodrome offers a kind of psychic alchemy through
extraordinary rendition.

Long live the new flesh.


Copyright © 2006-2013 by ArtSlant, Inc. All images and content remain the © of their rightful owners.