Stile der Stadt, Ein Projekt von Filomeno Fusco und Dirck Möllmann

deutsch

Videopanel 2011

February 19 – 27, 2011

Altonaer Museum, Hamburg

House

Jeanne Faust

Jeanne Faust *1968 in Wiesbaden
llives and works in Hamburg

www.jeannefaust.de

Exhibitions (selected) (S – Solo; G – Group)
2010 Cut – Scherenschnitte 1970-2010, Hamburger Kunsthalle (G)
2009 talk-talk – Das Interview als künstlerische Praxis, Kunstverein Medienturm Graz, Österreich (G)
2008 excuse me brother, Museum Ludwig, Köln (S)
2007 Videonale, Kunstmuseum Bonn; Reina Sofia, Madrid, Spanien (G)
2002 Manifesta 4 – Europäische Biennale zeitgenössischer Kunst, Frankfurt (G)

Awards and Fellowships (selected)
2008 Edwin-Scharff-Preis, Hamburg
2004 Lichtwark-Stipendium des Senats der Freien und Hansestadt Hamburg
2003 ars viva 03/04 – Film, Kulturkreis der Deutschen Wirtschaft
2002 Stipendium des Kunstmuseums Liechtenstein
1999 Hamburger Arbeitsstipendium für bildende Kunst

The Mansion

Video on DVD, colour, sound, 9 min.

With Lou Castel (Father), Sandro Mabellini (Son),
Bill Parton (Gangster), Jeff Turek (Gangster)


A view through a glass panel into a dimly lit recording studio. The camera is steady. Two men – father and son? – stand waiting, no one says anything yet. There is a tension between the two men that can be sensed in their body language. It immediately jumps over to the viewer. The dialogue that develops between the two further increases the tension. Anger, disappointment, and demands are in the air. But it remains unclear what exactly is shown and seen here. Are they two actors synchronizing a film who are – inevitably – also acting? Or is it a scene from a movie? Cut. The shot changes. The younger man remains in the picture, and two more men appear. The dialogue changes from family drama to gangster film. Here, too, power is demonstrated in language and gestures. Jeanne Faust construes scenes and leaves open and ambiguous how they are connected. At the same time, the situations, dialogues, and moods seem familiar; we recognize them, as if we were in our own house. By speaking to the filmic memory of the viewers, she also creates a distance to the drama we are watching. This distance allows her to pose questions about the construction of filmic narratives, language in film, and the language of film or cinema. In the final scene, music starts playing, the protagonists leave the studio. There is a black image, accompanied by Pachelbel’s Kanon und Gigue, a piece based on repetition that evokes the feeling of having heard it before. The film ends with rustling – “never stopped looking”.