Artist: Loretta Fahrenholz
Venue: Kunsthalle Zürich
Exhibition Title: 3 Frauen
Date: August 29 – November 8, 2015
Full gallery of images, press release and link available after the jump.
Images courtesy of Kunsthalle Zürich. Photos by Annik Wetter.
Contrary to what one might expect, the digitization of our daily lives is being accompanied by an increasing embodiment, both literally and figuratively. Online people take on all kinds of roles and identities, while at the same time their desire and willingness to stage their persona in reality is also becoming stronger. Today the self is increasingly understood as a fluid collage that consciously and unconsciously subjects itself to various scenarios. Drag was one of the few cultural movements to recognize the potential of embodiment, disguise, and performance early on. Both hedonistic and political in its performances, it always questioned ideas of gender roles and normality. With a surprising abruptness this culture and attitude has now been absorbed by the mainstream in the past few years. Stars such as Caitlyn Jenner and Conchita Wurst feature in newspaper headlines, television series, and talk shows, and suddenly drag and transgender cultures appear to offer spaces where authenticity (seemingly paradoxical) is still possible.
End of August two exhibitions will open at the Kunsthalle Zürich in which embodiment and performance play a central role. Portrait of an Eye by Pauline Boudry / Renate Lorenz will include their new film I Want, among other works, which was commissioned by Kunsthalle Zürich and Nottingham Contemporary. With 3 Frauen, the artist and filmmaker Loretta Fahrenholz will be presenting her first comprehensive museum show. Organized in cooperation with the Fridericianum in Kassel, it features a selection of her films, new photographs, and large-scale 3D-scans of spatial environments.
Loretta Fahrenholz is an artist and filmmaker who lives between New York and Berlin. She investigates different social milieus and the various fictions and desires that are played out, with whatever degree of intention, among actors, narratives, and the given means of production. In this, Fahrenholz gives equal importance to the act of manipulating a set of circumstances and the condition of allowing herself to be manipulated by them. She often references specific genres (e.g., disaster flicks, documentary, porn) allowing for narrative and formal contradictions to emerge that, in turn, simultaneously encourage and impede identification. This dynamic is echoed on a thematic level: In Fahrenholz’ films, isolated bodies attempt to function as a community. Sometimes they succeed, and sometimes they don’t.
In this exhibition, 3 Frauen, Fahrenholz shows two films: Ditch Plains (2013), a streetstyle sci-fi film set in post-Sandy NYC; and Implosion (2011), an adaption of the eponymous play by poet and feminist Kathy Acker (1947–1997). Also on view will be two new series of photographs: the serial smartphone work Recently Deleted, and a set of spatial surveys of a farm in Bavaria created using an industrial 3-D point scanner.