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Hans Ulrich Obrist & Cerith Wyn Evans: The Conversation Series

por Hans Ulrich Obrist

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Cerith Wyn Evans talks to Hans Ulrich Obrist in a very open manner about his career as a video and filmmaker, initially assisting Derek Jarman, and then making experimental films during the 1980s. Since the 1990s, his work could be characterised by its focus on language and perception, as well as its precise, conceptual clarity that is often developed out of the context of the exhibition site or its history. For him, he states, installations should work like a catalyst: a reservoir of possible meanings that can unravel many discursive journeys. Moreover, his work has a highly refined aesthetic that is often informed by this deep interest in film history and literature.… (mais)
Adicionado recentemente porpetervanbeveren, rpeckham
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Cerith Wyn Evans’ gloriously uncategorizable oeuvre has spanned installation works, sculptures, photography, film, text and a recent collaboration with industrial-music pioneers Throbbing Gristle. Preoccupations with language and perception generally lead the works, from an exhibition at Tate Britain in which a computer randomly selected lines from William Blake’s poetry to be reflected off a disco ball in Morse code format to “Inverse, Perverse, Reverse,” a large circular mirror that showed viewers’ reflections upside down, referencing Lacan’s mirror-stage theory of identity while throwing a wrench into the expected experience of representation. Evans has said he wants his work to function as a “catalyst or reservoir of possible meanings that, for the viewer, could unravel many discursive journeys.” In this series of conversations, Hans Ulrich Obrist draws Evans on these and other themes.
  petervanbeveren | Mar 18, 2024 |
Cerith Wyn Evans’ gloriously uncategorizable oeuvre has spanned installation works, sculptures, photography, film, text and a recent collaboration with industrial-music pioneers Throbbing Gristle. Preoccupations with language and perception generally lead the works, from an exhibition at Tate Britain in which a computer randomly selected lines from William Blake’s poetry to be reflected off a disco ball in Morse code format to “Inverse, Perverse, Reverse,” a large circular mirror that showed viewers’ reflections upside down, referencing Lacan’s mirror-stage theory of identity while throwing a wrench into the expected experience of representation. Evans has said he wants his work to function as a “catalyst or reservoir of possible meanings that, for the viewer, could unravel many discursive journeys.” In this series of conversations, Hans Ulrich Obrist draws Evans on these and other themes.
  petervanbeveren | Feb 18, 2024 |
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Cerith Wyn Evans talks to Hans Ulrich Obrist in a very open manner about his career as a video and filmmaker, initially assisting Derek Jarman, and then making experimental films during the 1980s. Since the 1990s, his work could be characterised by its focus on language and perception, as well as its precise, conceptual clarity that is often developed out of the context of the exhibition site or its history. For him, he states, installations should work like a catalyst: a reservoir of possible meanings that can unravel many discursive journeys. Moreover, his work has a highly refined aesthetic that is often informed by this deep interest in film history and literature.

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