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Cy Twombly at Museum Brandhorst

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Filmprogramm

Coming Together in Parts

Filmstill, das zwei Frauen in einem Schwimmbecken zeigt.

Located in the media room on the lower level of Museum Brandhorst, "Coming Together in Parts" presents video works by artists who deal with the interaction of bodies and technologies as well as alternative narratives of the future. The film program takes place in two chapters. The first part, titled "Carriers," will focus on works by Jill Magid, Sondra Perry, and Jeamin Cha beginning June 2, 2022.

June 2 – September 4, 2022

Curated by Franziska Linhardt

About the Film Program

The film program “Coming Together in Parts” responds to and extends the themes of the exhibition “Future Bodies from a Recent Past—Sculpture, Technology, and the Body since the 1950s”—in terms of media, time, and content. The first part of the program, entitled “Carriers”, addresses bodies as carriers of meaning and how artists engage with the representations of bodies in digital and technological environments. The video works on display, by Jill Magid, Sondra Perry, and Jeamin Cha, examine different forms of alienation between subjects and their images, as well as their relationships to organizations and institutional structures.

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Jill Magid, Lobby 7, 1999

Filmstill, das eine Einganghalle mit Menschen in Rückenansicht zeigt, die auf einen Bildschirm sehen.

Jill Magid’s “Lobby 7” (1999) documents a performance that took place in the lobby of the Massachusetts Institute of Technology (MIT). The artist hijacked the information screen and interrupted its program with her own transmission: using a miniature camera underneath her clothes, she explored her body in real time and filmed the reactions of passersby. Magid confronts surveillance mechanisms and control with voyeurism, personal intimacy, and desire.

 

Jill Magid (*1973) lives and works in New York.

Sondra Perry, It’s in the Game ’17, 2017

Filmstill, dass ein verschwommenes Foto von zwei Menschen zeigt, auf dem einen blaue Figur schwebt

Sondra Perry’s “IT’S IN THE GAME ’17” (2017) revolves around a digital, but real theft. The image of the artist’s twin brother—a professional basketball player—was used for an avatar in a video game without his consent and without compensation. Perry compares this to the way major museums have built their collections on looted art from colonial contexts. Between the private and the public, the real and the virtual, the original and the copy, the work raises questions about authorship, identity, and cultural justice.

 

Sondra Perry (*1986) lives and works in Newark, New Jersey.

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Jeamin Cha, Nameless Syndrome, 2022

Filmstill, das einen Arm im Wasser zeigt

In five chapters, Jeamin Cha’s essay film “Nameless Syndrome” (2022) follows the undiagnosable illnesses of women. In doing so, she addresses the constant reduction of the self through its digital images and data, but also through institutions and social systems. Investigative tools such as medical imaging fail to capture the nature of contemporary bodily ailments due to their symptomatic and political complexity. By overlaying image, sound, and quoted excerpts of text, Cha questions the empirical truths claimed by science and medicine.

 

Jeamin Cha (*1986) lives and works in Seoul.

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Part of "Future Bodies from a Recent Past"

The film program is part of the program of the exhibition "Future Bodies from a Recent Past - Sculpture, Technology, and the Body since the 1950s." It brings to life a hitherto little-noticed phenomenon in art and sculpture in particular: the reciprocal interpenetration of body and technology.

Future Bodies from a Recent Past—Sculpture, Technology, and the Body since the 1950s

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