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

deutsch

Videopanel 2011

February 19 – 27, 2011

Altonaer Museum, Hamburg

House

Mark Wallinger

Mark Wallinger *1959 in Chigwell, England
lives and works in London, England

Exhibitions (selected) (S – Solo; G – Group)
2010 The Beauty of Distance: Songs of Survival in a Precarious Age, Biennial of Sydney, Australien (G)
2008 Mark Wallinger, Kunstmuseum Aarau, Schweiz (S)
2007 Skulptur.Projekte 07, Münster (G)
2005 The Experience of Art, Italienischer Pavillon, 51. Biennale di Venezia, Italien (G)
2001 Britischer Pavillon, 49. Biennale di Venezia, Italien (S)

Awards and Fellowships (selected)
2007 Turner Preis
2002 Forschungsstipendium am London Institute
2001-2002  DAAD Stipendium, Berlin

The Magic Of Things

2010, Digital video on DVD, colour, mute, loop, 10:32 min.

Courtesy Galerie carlier | gebauer, Berlin

Mark Wallinger’s video The Magic of Things is based on the American TV show Bewitched. In the style of a screwball comedy, it is the story of the witch Samantha’s and her husband Darrin’s family life. The main locations are the family’s home and Darrin’s office. The series takes place in the 1960s. For his video, Wallinger chose certain images from the show and isolated them from the audio track. He only shows everyday life objects that move as if controlled by an invisible hand. They become actors themselves and are up to no good in the house. The magic of these objects, their levitation, their destruction and composition, their coming and going, at first seem due to sorcery. A closer look reveals the isolated objects to be historic and ethnic objects, design objects worthy of being shown in a museum. Paradoxically, this disconnects them from time and makes them more physical. The viewer is captured by a magical attraction to the objects shown in the projections, where no humans can be seen. In our curious, fascinated, or desirous gaze, common objects become magical things, maybe even fetish objects. Wallinger, however, is not concerned with exposure. On the contrary, by his selection of images, he confirms the autonomy of objects. Floating glasses in front of a veiled window – it shows the whole secret and is, at the same time, what it is.