The gallery FELDBUSCHWIESNER is pleased to present new works by the artist MAGDALENA VON RUDY in their video space.
In her minimal, reduced, yet intense, sensual re-staging of film scenes, Magdalena von Rudy explores the act of speaking and its impact on the performer and viewer. In her video works characters from Hollywood films, film texts and music, as well as art-historical references, encounter the personalities of the actors and actresses that exist outside of the role. In haunting dialogues with the viewer the protagonists often highlight the relationships between the search for identity, conformist role models and social status.
Raising for example portrays three youths searching for their identity, their social position and guiding principles. It is the male counterpart to the coming-of-age video Picnic. The artist stages three members of an indie rock band, who emulate their idols from mass media. In their rehearsal room they strike up characteristic poses typical of music stars, while they recite texts from the gloomy comic filming of Sin City. The words, originally recited in a matter-of-fact, monotonous voice become more and more loaded with personal emotion and are finally put to music. At the same time, the protagonists distance themselves from the originally brutal and vulgar content of the dialogue of the three comic heroes. The youths, who also have little in common with the ex agger ated male appearance of their idols, gradually lend their texts a profound, personal me lan choly and sadness. They ponder on the complications of ensuing adulthood and on the con soli da tion of personality and identity.
In Hakan Lyndon, the youth Hakan Eren, who has his roots in Turkey, tells the story of Barry Lyndon from the film with the same name by Stanley Kubrick. Drawing on the atmosphere of the film, which has painterly qualities, the actor wears a shirt reminiscent of the late baroque period while the scenes are set in romantic landscapes or dark rooms lit only by candles. Immersed in this light and shadow, the boy also awakens associations with the visual universes of Caravaggio. It is not until some way into the re-narration of the rise and fall of the Irish adventurer Barry Lyndon that the listener becomes aware of the young narrator’s speech impediment. Despite this supposed ‘defect’, Hakan makes a great impression with his talent for animated narration and his ex pressive facial expressions. This also makes it easier for him to develop a stronger emotional affi nity to the recited text. Hakan is also an outsider in our society, a position he wants to es cape, just like Barry Lyndon, who unsuccessfully attempts to find his place in the English ari sto cracy. The object of his desire is the world of education, represented cinematically by a grammar school choir, a backdrop of commentary that is very much in the tradition of Greek tragedy.
Magdalena von Rudy weaves a large number of narrative levels and in this way creates new con texts of meaning. Her films are impressive extensions, multifaceted deconstructions and re groupings. Through her focus on the act of speaking, on facial expression and gestures, an intense sense of closeness is generated, which little by little reveals to the viewer the authentic and per sonal interpretation of the speakers.
Magdalena von Rudy (*1973, Ratibor, Poland) studied sculpture and drawing at the Kunstakademie Düsseldorf and graduated with a Masters degree in 2001 from the class of Prof. Tony Cragg. At the same time she devoted herself to the theory and practice of video art and gained experience as a set de signer and actress. The German-Polish artist meanwhile ranks among the important emerging contemporary ta lents in film and video art.
Her works have received several awards including the Marler Video-Kunst-Preis (2006) the Nachwuchsstipendium der Kunststiftung NRW young talents scholarship (2010) and they have been presented in exhibitions in Kunstverein Bochum (2006), Kunstmuseum Thun (2008), Museum Ludwig, Köln (2009), KW Institute for Contemporary Art in Berlin (2010) as well as the National Museum in Warsaw (2010).