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Table of contents
- THE SPIRIT OF THE DEAD WATCHING
- Gauguin, Where do we come from? What are we? Where are we going?
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THE SPIRIT OF THE DEAD WATCHING
The film was first shown in Athens as part of documenta 14 and then at Tate Modern, London in September For them the camera becomes an eye, used to record fleeting moments and events, and merging everyday observations with fantastical and mythological histories and fictions. Their films are often meditative and sensuous and utilise an array of filmic conventions in order to challenge the gendered nature of art historical genius, female value, empathy as a radical position, and the subjective self in relation to the mediated body.
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Created nearly eight years later, Why Are You Angry? Thus, as well as its title, the film borrows both locations and poses directly from Gauguin, in order to examine the problems and potentials of re-imagining women through his particular gaze. In this way, the film directly addresses the difference between a filmic gaze in which time passes, the agitation of the subject is notable and the audience — and artists — are implicated by their own gaze, and a painterly gaze in which time is seemingly captured as a single moment and the subject of a painting can read as an object.
Both also have individual practices across a range of media, including sculpture, painting, photography and film. Does this text contain inaccurate information or language that you feel we should improve or change?
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Start your review of Gauguin's Ghost Story. Tom Black rated it really liked it Nov 19, Betty marked it as to-read Nov 07, Nicola Fantom marked it as to-read Nov 07, Julia Conway marked it as to-read Nov 07, Kirsty marked it as to-read Nov 07, Rachel Hall marked it as to-read Nov 07, Lauren Pike marked it as to-read Nov 07, Margaret scotland marked it as to-read Nov 08, Richard Randall marked it as to-read Nov 08, Bacsa marked it as to-read Nov 09, Susan marked it as to-read Nov 09, Michael Clyma marked it as to-read Nov 09, Helen marked it as to-read Nov 10, Karen marked it as to-read Nov 10, Agnes marked it as to-read Nov 10, Kazimiera pendrey marked it as to-read Nov 11, Gill's Great Book Escapes marked it as to-read Nov 12, Maureen marked it as to-read Nov 13, Natasha Dowse marked it as to-read Nov 14, Kim Parker marked it as to-read Nov 16, Julie marked it as to-read Nov 21, Catherine Fenwick marked it as to-read Nov 22, Rachel Bustin marked it as to-read Nov 23, Elz Bells marked it as to-read Nov 23, Emma marked it as to-read Nov 24, Barbara marked it as to-read Nov 25, Of the modern art works, small granite sculptures by Isamu Noguchi seemed particularly powerful when placed next to these anonymous folk objects: in one work in particular, Untitled Small Torso , the stone is allowed to be itself and the effort necessary to inscribe any mark into it, even one or two incisions, is a powerful trace within the work.
Each of these objects has an absolute tangibility as well as an ineffable quality that cannot be captured or fixed, although daily usage and absent-minded but constant concentration and contemplation can bring it close. Thus the beauty of the humble mass produced kettle from the s:.
They were gaudy ghosts of the market but, luckily, irrelevant to the impact of the exhibition as a whole.
Gauguin, Where do we come from? What are we? Where are we going?
In contrast to the rushed sloppy way he churned out as many pots as he could for the market when we first saw him, now he lovingly crafts a single pot, light catching the gleam of the wet clay as it turns and as the ghostly voice of his wife expresses her joy and admiration for his work, which at last fulfills her hopes for him.
The film ends. We see him fire his kiln but we never see the completed work. Yet the intimation is that it will be beautiful, that all the suffering will be expressed in the beauty of a common object, crafted with love.
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But I see it that way. I also can see that the moral of the story, that great art is not arrived at through crass commercialism and personal ambition for riches, but through the infusion of suffering and loss into a work done within a process of craft and I use that term in the most expanded manner possible including so-called deskilled processes is for some an outdated idea of who the artist is and what art is in contemporary culture. The quaint notions of objecthood, craft, sacrifice for art, aura—for what could be more auratic than a single pot which has been wrought—with humility and selflessness—over the souls of two dead women?
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How does one get from the merely illustrative to the internally performative? One answer is offered by one of the contemporary works in Mingei: Are You Here? The text relates what appears to be a personal narrative by the artist, about his absent Japanese father, pottery lessons, and the work of Bernard Leach , a British man who was a recognized master of Japanese traditional pottery in the early twentieth century.
Yet, despite the first person voice, the stylistic signifiers and subtly shifting pronouns signal that this is an unreliable narrative even if some or even all of it is based on autobiography. In contrast to many of the other works of craft and art in the exhibition, this is clearly a contemporary conceptual artwork, with all the irony and distantiation than comes with that designation, rather than a straightforward work of craft.
Nevertheless something about how one might proceed in this moment of imbedded disbelief in the kind of authenticity of the more historical works in the exhibition is implicit in the conclusion of the piece:.