|This biography from the Archives of AskART:|
|Video artist, Stan Douglas uses lighting, colors and sound effects to create narrative works.|
Douglas combines cliched sequences from the TV world into 30-to-60 second pieces in which everything and yet nothing happens. In "Hors-champs", 1992, two black-and-white films of a free-jazz concert, taken with two cameras, are projected on both sides of a screen suspended loosely in the room. On the front of the screen is the final cut, while on the back is the material that was edited out.
Christoph Blase, "Art at the Turn of the Millennium"
|Biography from Württembergischer Kunstverein Stuttgart:|
|From the 15th September, 2007 until the 6th January, 2008, the
Württembergische Kunstverein and the Staatsgalerie Stuttgart will be
presenting within a space covering 4,000 sq. metres the first
comprehensive exhibition of the works of Canadian artist Stan Douglas.|
The exhibition will encompass fourteen video and film installations, as well as numerous photographs.
Born in Vancouver, in 1960, Stan Douglas ranks among the most important
of contemporary artists. He has participated in the Documenta three
times (1992, 1997, 2002) as well as in the Venice Biennale (1990, 2001,
2005) and his works have been shown at numerous additional
biennales. It is in Stuttgart that his principal works of the
last twenty years will be shown and experienced for the first time in a
large-scale show. Iris Dressler and Hans D. Christ (Directors of
the Württembergischer Kunstverein) developed the large-scale show in
close collaboration with Stan Douglas.
As no other artist, Douglas has been able to enlarge in both a sensual
and intellectual way the experience of the cinematic and museum space.
With recourse to the intellectual, cultural and ideological traditions
of modernity, his works exemplify a critical revision of Western
history, past and present. It is the failure of modern utopias and the
“ghosts” they spawned which form some of the artist’s central
Behind almost all the works is an examination of a particular place –
Potsdam, Vancouver, Cuba or Detroit –, the respective histories of
which are reflected along the various literary, filmic or musical
references the artist uses: as, for example, E.T.A. Hoffman’s “Der
Sandmann” (Sandmann), Melville’s “The Confidence-Man” (Journey into
Fear), the Grimm fairy tales or Marx’s “Capital” (both in Suspiria).
Both his most recent video installations, Klatsassin and Video, revolve
around two fields of analysis which Douglas has reflected since the
1980s and that substantially shape his oeuvre: the emergence of Western
empires in the New World, on the one hand and the work of
Samuel Beckett on the other. For instance, Douglas already
curated an exhibition on Beckett’s Teleplays in 1988. His recently produced video installation, Video, refers to Beckett’s film Film starring Buster Keaton, and to Franz Kafka’s novel The Trial.
Taking place at two locations, the exhibition is conceived as one project and is to be accompanied by a catalogue.
Opening: 14th September, 2007
Press conference: 13th September, 2007, 11 am
Curators in cooperation with Hans D. Christ are Iris Dressler, Sean Rainbird and Gudrun Inboden
Submitted February 2007 by:
Leiterin Presse- und Öffentlichkeitsarbeit
Württembergischer Kunstverein Stuttgart
Schlossplatz 2, 70173 Stuttgart
|** If you discover credit omissions or have additional information to add, please let us know at registrar@AskART.com.|