The films and photographs by Jeanne Faust point out our culturally influenced film memory. Goran Galic and Gian-Reto Gredig called attention to themselves last year with their first joint project "Ma bice bolje - wird schon wieder" (2001-2005).
Excuse me brother
The films and photographs by Jeanne Faust point out our culturally influenced film memory. The artist makes masterly use of the cinematic frame of reference by selecting visual codes from various cinematic genres as the point of departure for her enactments. Her scenes can appear everyday or enormously staged; they always reveal allusions recalling to the viewer an entire repertoire of cinematic references. A fragment of dialogue, a gesture, or the way the figures are placed serve as triggers to running our own film in our mind’s eye. For Jeanne Faust it is not, however, just playing a game with cinematic quotes. Instead it has to do with analyzing how our experience of films and memory of films have influenced our perception. For although no direct pictorial or cinematic citations are apparent in her works, it is difficult for the viewer to understand Jeanne Faust’s videos and photographs without connecting them to a cinematic story.
The photographs, video and film projects by Jeanne Faust (*1968, lives and works in Hamburg) were shown at the Kunstmuseum Liechtenstein in Vaduz (Artist in Residency, 2002) and the Kunstverein Heilbronn (2003), as well as in numerous group exhibits such as “Manifesta 4“, Frankfurt a.M. (2002), “Compilation I“, Kunsthalle Düsseldorf (2003), “Ars viva 03/04, Jeanne Faust and Omer Fast“, Frankfurter Kunstverein and Pinakothek der Moderne, Munich (2004), “Project Migration“, Kölnischer Kunstverein, Cologne (2005) and most recently at the Biennale São Paulo, Brazil (2006).
Goran Galic and Gian-Reto Gredig
Photographers in conflict
Goran Galic and Gian-Reto Gredig called attention to themselves last year with their first joint project “Ma biće bolje - wird schon wieder“ (2001-2005). By means of photography, text and video they constructed a multi-layered network of pictorial documents, stories and personal memories, which combine to present a fragmentary and consciously subjective picture of today’s Bosnia-Herzegovina. When Goran Galić, the creator of the photographs and texts, scrutinizes, for example, his own actions, not only do interesting connections between the various mediums emerge, but the problems of the misuse – not only in wartime – of photography for manipulative purposes is expounded upon and the basic question of representing reality through photography is posed.
In their current work “Photographers in Conflict“ which they are presenting for the first time in the Kunsthaus Glarus, the two artists interview those protagonists whose pictures of conflict and disaster areas go out into the world daily. In order to reverse for once the asymmetrical (power) relationship between photographer and subject, the photojournalists, in the style of a historical portrait of monarchs, are photographed and interviewed in front of the camera according to a pre-determined questionnaire. In the process, Galić and Gredig are interested in self-conception and self-awareness of their role – which is closely related to the consideration of work ethic and humanly ethical action –, as well as the influence of the putatively objective documentation of photo journalists by external factors (manipulation by governments or political groups, news agency pressure or competition with amateur photographers, etc.). With this new project, Galić and Gredig enlarge upon their investigation and closer examination of the construction of reality with the aid of photography and video.
Goran Galić (*1977) studied photography at the School of Art and Design Zurich. Gian-Reto Gredig (*1976) studies Ethnology at the University of Zurich. Both live and work in Zurich. Their Bosnia project was shown last year, in addition to other locations, in the exhibit “Reale Fantasien“ at the Photography Museum Winterthur.
Image: Jeanne Faust
Im Volksgarten -Glarus