Professional Documents
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Candice Brietz - White - Cube - Catalogue
Candice Brietz - White - Cube - Catalogue
Breitz
Candice Breitz
Louise Neri
In your work you cut, mask, abbreviate, disrupt, conceal, to signal that
something is missing, or has been taken away. What is your interest in
using traditional modernist strategies such as assemblage, montage, as
well as the conceits of avant-garde linguistic theory ? How do you relate to
the historical precedents ? And what meaning do these strategies carry for
you as an artist of the next century ?
Candice Breitz
Candice Breitz
LN
CB
In earlier photobased works like the Ghost Series and the Group Portraits, I translated
images from National Geographic -style tourist postcards and glossy
fashion magazines. The idea was to remove certain elements and recongure what was left so as to create a new visual grammar through which
previously invisible content might emerge from familiar images. After
the process of deletion, I re-photographed the works in order to eliminate
the fetishistic presence of the source image. In the case of the Ghost
Series and the Rainbow Series, I was working with charged sources and
probing certain race and gender stereotypes. An artist like Ellen Gallagher
whose work I admire very much is as likely as I am, as a white South
African, to have her work read psycho-biographically, but to opposite
effect. Which is to say that as an artist of colour she might be granted the
licence to use certain strategies in her work that might be denied to me.
Conversely, I am aware of the invisible power and privilege that come with
being white. The Ghost Series was precisely about the violence that can
be performed by whiteness.
Candice Breitz
some essential way. We cant get rid of the glut of visual information
that surrounds us, but we can make images work for us, rather than only
having them work on us. The culture of spectacular images is insidious
mainly because it presents itself as a natural landscape, rather than as a
set of articial conventions. We grow so used to this landscape that we
forget it might be possible to map alternate landscapes. When I work with
familiar images, part of what I want to do is to de-naturalise them, to make
them strange again.
LN
CB
LN
CB
LN
LN
CB
Images
have different weights and different use values. Meaning is assigned to
them in the moment of reception, rather than being inherent to them in
LN
The ideas I was exploring in my photobased work tended to be linguistic and performative in nature. There was
often an implied duration built into them. It was a logical step to start
experimenting with moving images. The dimension of sound attracted me.
I was also interested in the mechanical and repetitive potential of video, as
this relates to certain psychological impulses. The drama of being is a
drama of repetition. To maintain a notion of who we are requires a certain
consistency, the constant repeating and conrming of certain beliefs,
values and behaviours. We learn who we are by watching others. We learn
to speak in the same way, through mimicry and repetition. We get to know
Candice Breitz
Candice Breitz
ourselves through our recurring desires. The video loop is a great way to
explore this whole drama.
LN
presences
CB
LN
CB
LN
CB
LN
Similarly you
justify your own pirating of pop culture as a shareholder-consumer in this
culture.
CB
LN
Do you feel the same way about how someone else might
use your work ?
CB
LN
Artists have always served as the research and development arm of the entertainment industry. Its disturbing
when a good idea derived from a work of art is instrumentalised purely to
generate prot, but I think it would be nave to imagine that, as an artist,
one could prevent the migration of ideas.
Consumers of popular
Candice Breitz
LN
Well, were living in a time where early Conceptual Art strategies have
been appropriated by the advertising industry : the instruction, the non
sequitur, language games, narratives and so on.
CB
LN
Candice Breitz
LN
CB
CB
LN
LN
CB
Candice Breitz
Candice Breitz
feelings based on my feelings ? Did that Hollywood father just say the
same thing that my father used to say to me ? Does that Hollywood
actress feel the same way about her mother as I feel about mine ? Much of
my work deals with the question of how we become who we are, and to
what extent this process is inuenced by our absorption of the values sold
to us by the mainstream media. More and more we learn who we are not
only from our parents and our immediate social contexts, but also from the
entertainment industry. In this sense, the media has gradually come to
share, and in certain instances to take over, the complex job of parenting.
them in some essential way. We cant get rid of the glut of visual
information that surrounds us, but we can make images work for us, rather
than only having them work on us. The culture of spectacular images is
insidious mainly because it presents itself as a natural landscape, rather
than as a set of articial conventions. We grow so used to this landscape
that we forget it might be possible to map alternate landscapes. When I
work with familiar images, part of what I want to do is to de-naturalise
them, to make them strange again.
The parent-child relationship maps itself quite neatly onto the star-fan
relationship. The star / parent offers itself to the fan / child as a prototype
to be emulated and duplicated, not only in terms of appearance and
behaviour but also in terms of values. If the media is competing to be a
parent to our children, then what does this media-mom and media-dad
look like ?
In the Babel Series, the parent-child dynamic that I associate with the
fans adoration of the star was inverted, as various pop stars looped
through endless monosyllables of baby talk. In Diorama, a whole spectrum
of family experience was collapsed into a primal chant about marriage and
love and divorce and adoption. With Mother + Father, I wanted to explore
the purely affective dimension of Hollywood tearjerkers, the breaking-point
emotions associated with parenthood : rejection, devotion, desperation and
obsession. I wanted to release the affect from linear narrative, to see if
I could free the actors from the original movies and get them to act for
me. Most Hollywood movies depict parents as dysfunctional, unhappy or
incompetent, almost as if in order to claim the parental role for itself,
Hollywood must undermine the credibility of real parenthood.
LN
LN
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Candice Breitz
Candice Breitz
them in some essential way. We cant get rid of the glut of visual
information that surrounds us, but we can make images work for us, rather
than only having them work on us. The culture of spectacular images is
insidious mainly because it presents itself as a natural landscape, rather
than as a set of articial conventions. We grow so used to this landscape
that we forget it might be possible to map alternate landscapes. When I
work with familiar images, part of what I want to do is to de-naturalise
them, to make them strange again.
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12
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Candice Breitz
Candice Breitz
them in some essential way. We cant get rid of the glut of visual
information that surrounds us, but we can make images work for us, rather
than only having them work on us. The culture of spectacular images is
insidious mainly because it presents itself as a natural landscape, rather
than as a set of articial conventions. We grow so used to this landscape
that we forget it might be possible to map alternate landscapes. When I
work with familiar images, part of what I want to do is to de-naturalise
them, to make them strange again.
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Candice Breitz
Candice Breitz
them in some essential way. We cant get rid of the glut of visual
information that surrounds us, but we can make images work for us, rather
than only having them work on us. The culture of spectacular images is
insidious mainly because it presents itself as a natural landscape, rather
than as a set of articial conventions. We grow so used to this landscape
that we forget it might be possible to map alternate landscapes. When I
work with familiar images, part of what I want to do is to de-naturalise
them, to make them strange again.
Louise Neri
Candice Breitz
Louise Neri
Candice Breitz
Father, 2005
6-Channel Installation / 6 Hard Drives
Duration : 11 minutes
Thats why I prefer the term
Installation View : Castello di Rivoli, Turin
literacy to Private
deconstruction
.
Deconstruction
implies the mechanical
Collection
Louise Neri
Louise Neri
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Candice Breitz
CB
Candice Breitz
CB
More than adding something new to the footage, I think I amplied the
neuroses and extremes that were already there. I heightened the intensity
of the footage by removing it from the purpose of telling a specic story,
then looped it, layered it, and teased out its darkest implications. We all
have to deal with family. Thats probably why Jonathan Franzens novel
The Corrections a book that was based on the writers own family and
which was a strong inspiration for Mother + Father was such a hit,
and it may be the same reason why people identify with Mother + Father.
LN
CB
LN
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LN
CB
LN
LN
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Candice Breitz
CB
After the drama of making Mother + Father, which felt like a decade of
therapy compressed into a year, I wanted to feed some of the ideas that I
had about the star-fan relationship back into a work in which the limelight
was given over to fans. Id also wanted to experiment with portraiture for
a while. When T - B A21 Vienna commissioned me to make a work in
Jamaica, I decided to make a portrait of Bob Marley, knowing full well how
risky that could be. What I wanted to do was to give the denitive compilation album Legend back to Bob Marleys Jamaican fans. Thirty Jamaicans
from all walks of life were invited into a professional recording studio in
Port Antonio and given the opportunity to re-perform Legend exactly as
they wished, from beginning to end. Their individual performances were
then assembled on a wall of thirty monitors. In the nal portrait, Marleys
voice and the familiar musical arrangements are absent ( the fans sing
along to an album that we no longer hear ). He remains present in the work
only as a complex composite of those whose stories he has told and those
whose lives have intersected with his music.
LN
CB
Candice Breitz
CB
I am interested
in the tension between a very global mainstream culture and the local
contexts in which it is absorbed and used. I think that King says as much
about a specic social and historical moment in Germany, where it was
shot, as it does about Michael Jackson. Since Madonna is always making
reference to her Italian roots, it was fun to give her album to a group of
Italians to interpret, to give the work an Italian accent. The portraits bring
together the intimate experience of listening to a favourite album at home,
with the more global longing for fame that is inherent to the screen test.
LN
Yet they are very different from Warhols Screen Tests, which were
deliberately inert and controlled.
CB
LN
How do they
LN
an artist ?
differ ?
CB
CB
Astoundingly. The Jackson fans had just witnessed the end of their
idols recent legal trial and some were vulnerable and defensive as a result.
Several identied with Jackson not only because they loved his music, but
also because they saw him as a survivor who had managed to withstand
a series of life challenges. Many of them told stories about hardships that
they themselves had overcome. The Madonna fans were an altogether
more gregarious bunch, ranging from rampant exhibitionists to housewives
who saw Madonna as the mother who has it all . They commented over
20
Not really. Im pretty realistic about what these portraits can and
cant achieve. One of the Michael Jackson fans told us that her day in the
recording studio was the best day of her life, because she hated her nineto-ve life and this was the furthest she had ever managed to escape from
it. Her perform-ance was one of the most ex-uberant and cathartic that we
have shot. The next day she drove home to her nine-to-ve life. A young
woman who performed for us in Milan told us that singing the Madonna
album for us was like a marriage it only happens for one day, but you
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Candice Breitz
LN
repetition ?
Its almost impossible to escape the force of habit.
CB
Candice Breitz
them in some essential way. We cant get rid of the glut of visual
information that surrounds us, but we can make images work for us, rather
than only having them work on us. The culture of spectacular images is
insidious mainly because it presents itself as a natural landscape, rather
than as a set of articial conventions. We grow so used to this landscape
that we forget it might be possible to map alternate landscapes. When I
work with familiar images, part of what I want to do is to de-naturalise
them, to make them strange again.
Berlin, 2005
Group Portrait #10, 2001
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Candice Breitz
Candice Breitz
them in some essential way. We cant get rid of the glut of visual
information that surrounds us, but we can make images work for us, rather
than only having them work on us. The culture of spectacular images is
insidious mainly because it presents itself as a natural landscape, rather
than as a set of articial conventions. We grow so used to this landscape
that we forget it might be possible to map alternate landscapes. When I
work with familiar images, part of what I want to do is to de-naturalise
them, to make them strange again.
24
24
25
Candice Breitz
Candice Breitz
them in some essential way. We cant get rid of the glut of visual
information that surrounds us, but we can make images work for us, rather
than only having them work on us. The culture of spectacular images is
insidious mainly because it presents itself as a natural landscape, rather
than as a set of articial conventions. We grow so used to this landscape
that we forget it might be possible to map alternate landscapes. When I
work with familiar images, part of what I want to do is to de-naturalise
them, to make them strange again.
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27
Candice Breitz
Candice Breitz
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Candice Breitz
Images
Page 4
Page 5
Page 6
Page 8
Diorama, 2002
DVD installation / 9 Looping DVDs
Commissioned by ArtPace, San Antonio
Installation view: Statements, Art Basel Miami Beach
Courtesy: True Collection, Seattle
Still from Karaoke, 2000
DVD installation / 10 looping DVDs
Courtesy: Hamburger Kunsthalle, Hamburg
Page 9
Page 10
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Acknowledgments
Page 11 18
Acknowledgments
Backdrop
Catering
Technical Realisation
Sound
Technical Realisation
Special Thanks
Special Thanks
Candice Breitz
Jack Bakker
Alexander Fahl
Julien Binet, Yvonne Brandl, Halina Kliem, Andrei Loginov,
Lars Oeschler, Ren Petit, Julia Pfeiffer, Janne Schfer,
Boris Schmidt, Max Schneider, Katja Schubert,
Riccardo Zito.
Max Schneider
Neue Medien Projekte, Berlin
MaloTek, New York
Jack Bakker, Marcella Beccaria, Nicolette Cavaleros,
Mara and Lorena de Corral, Alessio delli Castelli,
Benjamin Geiselhart, Ida Gianelli, Antonio Homem,
Francesca Kaufmann, Michael Lantz, Bjrn Melhus,
Matthias Mhling + Ulrich Maria Rasche,
Ileana Sonnabend, Raimar Stange, Ralph Niebuhr,
Tobias Stengl, Jason Ysenberg.
Mother + Father are dedicated to, though not
necessarily inspired by EPB and LRB.
Page 26 28
Mariarosa Repetto
Francesca Kaufmann, Daphn Valroff, Bess Bajric
Neue Medien Projekte, Berlin
MaloTek, New York
Michael Lantz, Alessio delli Castelli, Benjamin Geiselhart,
Ralph Niebuhr, Giancarlo + Mariarosa Repetto,
Linda Arcieri, Bess Bajric
Page 30
KING ( A Portrait of Michael Jackson ), 2005
16-Channel Installation
Duration : 42 minutes, 20 seconds
Director
Producer
Location
Fans
Project Management
Casting
Camera
Sound
Interviews
Post-Production
Post-Production Assistant
Technical Realisation
Candice Breitz
Francesca Kaufmann
UFO Sound Studios, Berlin : July 2005
Andrew Cannon, Alexander Stolz,
Rames Gouri, Gina Behrendt, Tanja Kerbler, Isabel Rhl,
Claudia Wildner, Manuela Kllner, Katrin Orejuela,
Eren Mendez Kslmoglu de la Vega,
Melanie Diana Viereck, Kerrar Kilic, Ceyhun Katircioglu,
Adlai Ogbonna, Kirsten Khler, Rico Richter.
Special thanks to Markus Schielke.
Janne Schfer, Alexander Fahl
Janne Schfer
Yoliswa Grtig
Max Schneider
Candice Breitz, Janne Schfer
Alexander Fahl
Julia Pfeiffer
Neue Medien Projekte, Berlin
MaloTek, New York
Candice Breitz
Francesca Kaufmann
Jungle Sound Station, Milan : July 2005
Matteo Mayday Golinelli, Giancarlo Furfaro,
Maurizio Cargnelutti, Besim Bess Bajric, Sara Ballerini,
Michele Albertin, Valeria Sacc, Mariella Mul,
Marika De Sandoli, Fiammetta Fabrizi, Fabiano Cecconi,
Michele Valentino, Claudia Garavaglia, Tommaso Tanini,
Beatrice Sinisi, Maria Zuccarino, Antonella Adriomi,
Nicola Casadei, Paolo Piovera, Alessandra Grignani,
Fabrizio Canepa, Alessia Alberti, Marco di Nola,
Giuseppe Russo, Linda Arcieri, Augusto Castelli,
Roberta Giovanardi, Silvia Celestini, Giuseppe Brocato,
Alessandro Bizzozero. Giorgio Galfo, Chiara Boari Ortolani
and Francesco Cappellano also sang for Queen.
Chiara Repetto
Alexander Fahl
Chiara Repetto
Sebastian Krgler
Max Schneider
Gianpaolo Manzoni, Chiara Repetto
Gianpaolo Manzoni, Daphn Valroff
Alexander Fahl
Riccardo Zito
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Biography
Biography
1998
1998 2002
1997
1997
1995
1993
1997
Residencies
2005
2003
2002
2002
2001
2000
Solo Exhibitions
2005
2004
Education
2003
2002
2001
2000
1999
34
1996
1995
1994
Selected Group
Exhibitions
2005
2004
2003
35
Biography
2001
2000
36
Biography
1998
1997
1996
1995
37
Selected Bibliography
Monographs
Publications
Periodicals
Korotkin, Joyce. Candice Breitz : Sonnabend Gallery, New York, Tema Celeste, No. 103,
May June 2004, p. 93
Spiegler, Marc. Candice Breitz : Max Hetzler, Berlin, Artnews, March 2004, p. 140
Krner, Magdalena. Candice Breitz : Schreien, Stottern, Singen : Das Playback des Ich :
Ein Gesprch mit Magdalena Krner, Kunstforum, No. 168, January 2004, pp. 276 283
Schmitz, Edgar. Candice Breitz : Re-Animations, Kunstforum, No. 167,
November December 2003, pp. 346 48
Haines, Bruce. Candice Breitz : Re-Animations/Jim Lambie : Male Stripper, Contemporary,
November December 2003, p. 71
Stange, Raimar. Candice Breitz : Galerie Max Hetzler, Flash Art, No. 233,
November December 2003, p. 104
Wainwright, Jean. Candice Breitz : Modern Art Oxford, Art Monthly, No. 271,
November 2003, pp. 18 19
Stange, Raimar. Candice Breitz in der Galerie Hetzler : Monitor mit Nabelschnur,
Der Tagesspiegel, 4 October 2003, p. 28
Mullins, Charlotte. Sigmar Polke and Candice Breitz :
Taking Pot Shots at a Media-Saturated World, The Financial Times, 1 October 2003
Gohlke, Gerrit. Schutz und Trutz, Stirn und Hand : ber Alien eine Videoinstallation von
Candice Breitz, BE Magazin # 9 Knstlerhaus Bethanien, 2003 pp. 116-22
Ratnam, Niru. Up Front On The Verge : Candice Breitz, Observer Magazine,
24 August 2003, p. 15
38
Selected Bibliography
39
Colophon
Published by
In association with
Sonnabend
536 West 22nd Street
New York
New York 10011
United States
Tel +( 212 ) 627 1018
Fax +( 212 ) 627 0489
francesca kaufmann
Via dell Orso, 16
Milan 20121
Italy
Tel +39 ( 0 )27 209 4331
Fax +39 ( 0 )27 209 6873
www.galleriafrancescakaufmann.com
On the occasion of
the exhibitions
Candice Breitz
White Cube, London
7 September 8 October 2005
and
Candice Breitz
Sonnabend, New York
18 September 29 October 2005
Design
Print
Photography
ISBN
0955049903
40