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Barbara Prokop
 
 
关于此艺术家

Over the past few years I have been using video to setup up performative situations, which lie in a place between fiction/reality and the art/non-art worlds. I have been looking at peoples understanding and perception of mainstream and popular culture, in order to understand who and what globally holds power over the mainstream and therefore is capable of effecting change. I am interested in the translation of information, which occurs between cultures, sub-cultures and classes and in how information is read once it crosses over. Focusing on individuals, who metaphorically stand in for a broader public, I invite participants to interpret and perform roles, which are foreign yet familiar to them, thus bringing out their clichéd perception and understanding of individuals and events. Combining an individual’s reality with a ‘fictional’ role, a fictional documentary occurs, which refers back to the participant, and in the end speaks more about the participant’s standpoint then what they are trying to emulate. I purposely use roles or personas that everyone is able to identify with and which at the moment of production hold mainstream power in an attempt to momentarily understand the effect of the fleeting phenomenon.

What has drawn me to working in video and the way that I think of and contextualize my work, finds its roots in the performance-based films/videos of the 70s. Works such as the performances of Marina Abramowitz and the celebrity portraits of Andy Warhol, clearly still inspire my work but I also situate my artistic practice within the framework of contemporary artists, such as Santiago Sierra and Sophie Calle. In Sierra’s work I am interested in the way that through minimalist ‘high art’ he takes advantage of the system he criticizes in order to talk about exploitation and power, and the dialogue and discussion about the moral ethics which he sparks. In Sophie Calle’s work it is the relationship between art and life and also the relationship between a documentary truth and a fictional reality, which I contact to in her practice. My choice of using stark backgrounds, often eliminating the background altogether can be traced back to these artists. My interest lies in isolating the figure and concentrating on their performance, as well as letting the basic medium of artist’s video come out. In working with issues of celebrities and the media industry I am conscious to create work that does not attempt to compete with the industry but rather rival it in another fashion.

In creating work that through its process interacts with people, I always come to question the effect on the viewer and participants and the effectiveness of acts on the public. Can art really be politically effective and create change? My work is careful in criticising in fear of becoming didactic but rather it hovers on the edge between right and wrong in an attempt to get the viewer to think about it rather then understand it. I hope for my work to open up questions, I am not necessarily interested in finding an answer but rather starting dialogue and thought. I am interested in walking this line, finding out what the limits are ethically, to find the slippage. I am interested in the performance within the performance, how a social and political consciousness - a self-reflexivity – informs and influences the process. My work is concerned with the edge between right and wrong, where the viewer is made to question their own stance on the situation instead of just agreeing or disagreeing with it.

 
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UNTITLED

2007
SINGLE CHANNEL VIDEO
37:00 MIN

UNTITLED

UNTITLED

2007
SINGLE CHANNEL VIDEO
37:00 MIN

UNTITLED
A homeless man was paid €50 to drink a bottle of champagne (Veuve Clicquot) in front of the camera.

ARTIST LOOKING FOR AMERICANS WHO LEFT THE US BECAUSE OF CURRENT POLITICS.

2005
FOUR CHANNEL VIDEO AND PHOTO INSTALLATION
APPROX. 5 MIN EACH

ARTIST LOOKING FOR AMERICANS WHO LEFT THE US BECAUSE OF CURRENT POLITICS.

ARTIST LOOKING FOR AMERICANS WHO LEFT THE US BECAUSE OF CURRENT POLITICS.

2005
FOUR CHANNEL VIDEO AND PHOTO INSTALLATION
APPROX. 5 MIN EACH

ARTIST LOOKING FOR AMERICANS WHO LEFT THE US BECAUSE OF CURRENT POLITICS.
In November 2004, shortly after the Americans elections, I placed an ad in Berlin’s English newspaper, the Exberliner, which read – “Artist looking for Americans who left the US because of current politics.” Four anti-Bush Americans responded to the ad. After conducting long interviews about their political views, they were asked to take on the role of a republican in front of the camera. What results in the four-channel video installation is their understanding and perception (often clichéd) of republican voters.

BRITNEY: STILL ME

2004
SINGLE CHANNEL VIDEO
6:45 MIN

BRITNEY: STILL ME

BRITNEY: STILL ME

2004
SINGLE CHANNEL VIDEO
6:45 MIN

BRITNEY: STILL ME
In Britney: Still Me, a Britney Spears fan mimics her idol by singing, dancing and talking to us about herself and her career. In a dimly lit black space with only a spotlight following her, “Britney” sings and dances to eight of Spears’ songs, for which her dress and dance style are based on Spears’ most sexy and provocative video to date, I’m a Slave for You. The dancing is interjected with clips of “Britney” in a brightly lit white background dressed to imitate Spears’ recent high fashion shoot for W magazine, in which she is styled as a supermodel, leaving behind her young girl image. In this shoot “Britney” talks to us about her connection to the music industry, to what extent she has control over her career, the effects of her new image and where she sees herself going in the near future. The last shoot consists of “Britney” dancing with two male “dancers” in a pink room. The dancers are dressed in street/club clothes and she is dressed in a pink satin dress mimicking what she wore on the cover of W magazine and also referencing the dress worn by Marilyn Monroe in Gentlemen Prefer Blondes and by Madonna in her Material Girl video. Dispersed throughout the video are shots of “Britney” around town filmed to look like paparazzi shots.

Interview with Frau Krause

2001
SINGLE CHANNEL VIDEO
2:45 MIN

Interview with Frau Krause

Interview with Frau Krause

2001
SINGLE CHANNEL VIDEO
2:45 MIN

Interview with Frau Krause
Interview with Frau Krause, is an interview with the former secretary of KUNST-WERKE BERLIN, Institute for Contemporary Art, Berlin. The interview is on art and her opinions about it after working at this institution for approximately two years. Marlies Krause covers various genre of art without speaking about one artist in particular. Having had very little prier exposure to contemporary art her views have been mainly formed at working for this institution, where she sees many of the art worlds ‘stars’ pass through.
 
教育程度与个人自传
Education:

2003-2005 MFA, Katharina Sieverding-Visual Culture Studies, UdK, Berlin.

2001-2003 "Celanese Canada Internationalist Fellowship". UdK, Berlin.

1998 Exchange in Environmental Art. Glasgow School of Art, Scotland.

1995-1998 Bachelors of Fine Arts in Studio Arts. Concordia University, Montréal.


Selected solo exhibitions:

2004 Britney: Still me. Articule. Montreal, Quebec.

2002 A Dinner Party for Sarah Smith. Saw Gallery. Ottawa, Ontario.

2001 Lose me, my love. Resource Centre for the Arts, St. John's.


Selected group exhibitions and screenings:

2007 Hardcore Glamour, Kunstraum Kreuzberg/Bethanien, Berlin

2006 Don't worry about tomorrow, Basso, Berlin

2006 OutVideo - International Video Art Festival, Russia

2005 X Industria, CAFKA, Toronto, Canada

2005 Brisk Collages & Bricolages, MSVU Art Gallery, Halifax, Canada

2005 zeichen_leere, ngbk, Berlin

2005 Meisterschüler ausstellung, UdK, Berlin

2004 I Wanna Be a Popstar, loop - raum für aktuelle kunst, Berlin

2004 Performing the Video, Kohlenhof Kunstverein Nuernberg e.V., Nuernberg

2003 The Bigger Picture, The Ottawa Art Gallery, Ottawa

2003 Optica, Art Forum Berlin 03 , Berlin

2003 Museale 03, Kulturforums Potsdamer Platz, Berlin

2003 Images Festival, Toronto

2003 So Far, So Good. YYZ Artists' Outlet, Toronto

2003 Rencontres Internationales Paris/Berlin, Berlin and Paris

2002 Haus am Lützowplatz, Berlin

2002 An American in Paris. P.P.Premises, Berlin

2002 No Live Girls. Lusty Lady, Seattle and San Francisco

2001 Novalog 2001 Tel Aviv-Berlin. Staatsbank. Berlin

2001 "Process-Space" Festival 2001. Rousse, Bulgaria

2001 Front for Communication 2001. Plovdiv, Bulgaria


Selected awards:

2007 Canada Council for the Arts, project grant

2006 BC Arts Council Visual Arts, project grant

2002 Canadian Embassy Berlin, project grant

2001 Celanese Canada Internationalist Fellowship


Video Distributer: Vtape, Toronto, Ontario. www.vtape.org
 
网站:  www.barbaraprokop.com
 
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