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Kunsthalle Wien Museumsquartier 8/12 2016 — 8/01 2017 Booklet

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Kunsthalle Wien Museumsquartier 8/12 2016 — 8/01 2017 Booklet Kunsthalle Wien Museumsquartier 8/12 2016 — 8/01 2017 Booklet #NeverBreaks www.kunsthallewien.at Strange Magic and is reminiscent of the buildings in which the corporate need for Since the late 1990s, Sarah Morris representation finds contemporary has devoted herself to painting and expression. film, media she believes are indepen- dent, and yet complementary on a Morris uses the camera to capture contextual level. Her main focus is on the psychology, architecture, architecture and urban development and aesthetics of the urban sphere in as representing social and political her characterisation of a metropolis. systems, as well as today’s semiotic The fascination with power and system, marked as it is by the signa- its modes of representation is a tures of capitalism. recurring theme in her work. Instead of following a clear storyline, her films The intensely coloured geometric present short scenes in rhythmically paintings she creates are derived structured sequences: architectures from the abstractions of classic and landscapes, people engaged in Modernism and especially from Piet their activities, interiors and exteriors. Mondrian’s grid compositions, which Morris looks behind the scenes she transfers to a language adapted at the Oscars, the White House, to correspond with the dynamics and the Olympic Games in Beijing. of contemporary urbanism and the She creates highly aesthetic images overall acceleration of perception. accompanied by expressive sound In her filmic works, Sarah Morris collages which reveal the true nature translates these abstract symbols of things and events while appearing into rapid image sequences and to reflect only the surface. Strange thereby transforms the observation Magic, the artist’s most recent film, of seemingly superficial events into is not only a 45-minute insight into the a visual psychograph of the cities imperium of the luxury conglomerate she portrays. LVMH, but also an unconventional portrait of Paris. The exhibition at the Kunsthalle Wien focuses on Morris’ filmic oeuvre The Eiffel Tower marks the beginning: and presents ten city portraits in the a symbol of technological progress, broadest sense: Strange Magic, a film an emblem of emergent globalisation, about Paris as the centre of the luxury a tourist attraction, and an image industry, will be screened for the presented in every book, film, entire duration of the exhibition and or television feature about Paris. supplemented by further film works on The French philosopher Roland five evenings. Barthes described the Eiffel Tower as the “spectacle of a function,” despite Banco Alliança [Rio] from 2013 serves not actually having one. “Its simple, as a striking example of her painting. primary shape confers upon it the The abstract work in radiant gloss vocation of an infinite cipher: in turn colours brings new life to a reduced and according to the appeals of our formal language with its dynamic imagination, the symbol of Paris, Cover design: M/M (Paris), 2016, Photography © Parallax All Images: Sarah Morris, Strange Magic (Filmstill), 2014, Red Code/HD Digital, 45:08 min., © Sarah Morris composition and intense saturation, of modernity, of communication, 1 of science, or the nineteenth century, commissioned for the opening of side of a public event, in this case, the aesthetics of advertising, rocket, stem, derrick, phallus, his private museum, focuses on the opening of the Fondation which is why they do not seem lightning rod, or insect, confronting the building designed by Frank Louis Vuitton in Paris – and entirely affirmative. The seductive the great itineraries of our dreams, Gehry in Bois de Boulogne and on the preparations leading up to images Morris creates cannot truly it is the inevitable sign.”1 perfume production, an important it. The edifice, which is often hide the emptiness behind them. segment of LVMH. Above all, we see emphatically praised as a “glass Moreover, the image-based fantasy Strange Magic starts with impressions the workers behind these products: cloud” or a “steel nave”, not only of a luxurious life undergoes a visual of the Eiffel Tower by night and rose pickers, perfumers, construction serves the purpose of displaying recoupling with a real production gradually approaches the iron and factory workers, architects. Arnault’s expansive art collection, chain which is not necessarily structure until people climbing its Only Frank Gehry, the architect, but also reinforces the city’s reputation glamorous. stairs enter the picture. This was and Bernard Arnault, the head of the as the capital of culture. However, another aspect that fascinated multi-industry company, stand out one can only surmise from Morris’ Sarah Morris is an informed Barthes. Due to its openwork against the anonymous background film that the building comprises observer of contemporary life who construction, he characterised as identifiable personalities. eleven galleries within an exhibition shares her knowledge with the the Eiffel Tower as an “empty and All the others move to the rhythm area of 11,000 square metres: the viewer. By precisely analysing its depthless monument which might of a both efficient and optimised view of the structure is limited to its mechanisms, she places the feeling be said to consist entirely of an production chain. façade. Just before its completion of “must have” with all of its conscious exterior substance.”2 Consequently, – the planning phase lasted seven and unconscious consequences in a visitors glide “along the periphery The manual labour contrasts with years – the building appears as an global context. of its emptiness” without ever being a form of capitalism which is more artful steel and glass construction, encased by it. This lack of an interior, geared towards generating needs which must have been just as much 1. Roland Barthes, The Eiffel Tower and this empty core makes the Eiffel Tower than goods, and defines the core of an engineering challenge as Other Mythologies, trans. Richard a token of modernity par excellence of the luxury industry: items that the Eiffel Tower was at the time. Howard (Oakland: University of – an infinite generator of meaning, promise prestige and a certain From this implicit parallel the actual California Press, 1997), p. 1 a crystalliser of dreams. lifestyle. Morris lets her viewers theme of Strange Magic evolves: take part in this exclusive world the quintessentially French as an 2. ibid, p. 10 The Eiffel Tower as an opening for by providing a glimpse behind the equivocal interplay between elegance a film about Paris complies with scenes. The production of objects and and luxury, and art and power. general expectations, and yet interiors, the development of brands, Sarah Morris in Sarah Morris’ rhythmically the creation of art is juxtaposed with Morris assembles scenes and Strange Magic, 2014 orchestrated montage of different the equally important production of impressions which provide an insight Red Code/HD Digital, 45:08 min. impressions of the city as the immaterial goods, of dreams, needs, into the fabrication of cultural capital © Sarah Morris heart of the luxury industry, this yearning, and desire. Time and again, in the shape of luxury items. The shots landmark acquires an additional very real materials appear – grapes of grapes, flowers, leather, fabrics, Sarah Morris meaning. Strange Magic juxtaposes as the key ingredient of champagne, pigments, glass, and machines Banco Alliança [Rio], 2013 the classic symbol of modernity cinnamon roses pressed to extract appear in a rhythmic montage: roses Household gloss paint on canvas with contemporary variations perfume, bottles and vials, steel and are picked, pressed, and liquefied 152.5 x 152.5 cm whose effective structures radiate glass amalgamating to form as perfume. Film stars present Courtesy of the artist and Air de Paris, openness. These edifices and the almost unreal components of the perfume. A huge filling plant Paris products also function like wishing Gehry’s structure. But in the end, fills countless vials, and seals and machines and invite an array of manual and mechanical labour packages them. interpretations. alike are absorbed by luxury which transcends materiality. The documentation of these very The film, which Bernard Arnault real mechanisms that support the (chairman of the French luxury items As in her other films, the focus in commercial generation of wishes group Louis Vuitton Moët Hennessy) Strange Magic is on the hidden and desires is partly inspired by 2 3 4 5 6 7 Films as the Kennedy Center, the J. Edgar The film, shot on 35mm, investigates visibility. Consequently – and this is Hoover Building and the Pentagon. the issue of projection and planning, perhaps why we are made to think of Mon 12/12, 7 pm Together with the daily activities and its potential failures through this conspiracies – the film questions the of the President, and an overall specific instance in history. It exposes authorship of the spectacle, who is Midtown consideration of the city, the film forms a subjective parallel view radically in control, and ultimately, the role of 1998, 16mm/DVD, 9:36 min. a sequence of reflection points for different than the widely received the artist. © Sarah Morris, Courtesy White Cube a revised mapping of power, desire, ideas surrounding the events of urbanism and design. the 1972 Olympics. Midtown was shot in New York during a single day. The film brings together Beijing Mon, 19/12, 7 pm sequences showing the streets of 2008, 35mm/HD, 84:47 min. midtown Manhattan, combining the Wed 14/12, 7 pm © Sarah Morris, Courtesy White Cube Rio anonymity of the crowded sidewalks 2012, Red Code/HD Digital, 88:33 min. with the power of the buildings that 1972 Beijing focuses on one of the © Sara Morris, Courtesy White Cube frame the everyday movements of the 2008, 35mm/HD, 38:12 min. most intricate and ambiguous city. Almost a catalogue of peripheral © Sarah Morris, Courtesy White Cube international broadcasted events In Rio, Morris depicts the multifarious actions, gestures that take place of past years – the 2008 Olympic and complex layers of this most in nearly every film, it explores the 1972 is an intimate portrait of an Games in Beijing.
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