Anri Sala , livre ebook

234

pages

English

Ebooks

2023

Écrit par
Michael Fried

Publié par
Indiana University Press

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234

pages

English

Ebook

2023

Lire un extrait

Obtenez un accès à la bibliothèque pour le consulter en ligne En savoir plus

Publié par

Indiana University Press

Date de parution

04 avril 2023

Nombre de lectures

EAN13

9780253068569

Langue

English

Poids de l'ouvrage

1 Mo

Anri Sala is one of the most gifted and accomplished visual artists of his generation. Michael Fried first encountered Sala's video, film and installation art in 2005 and has been following his work since. This collection of essays focuses on what Fried identifies as a few major and recurring themes in Sala's work, such as the treatment of absorption and the overarching issues of anti-theatricality and presentness. Throughout the book, which is illustrated with numerous colour stills from Anri Sala's videos, Fried pursues a highly personal approach of combining extremely fine-grained structural and thematic readings of individual works with philosophical and theoretical reflections often drawing on major thinkers in the Western philosophical tradition, including Ludwig Wittgenstein and the eighteenth-century philosopher Friedrich Schiller.

Fried also provides unique insight into his own renowned critical and theoretical work, which has exercised such great influence in art history and criticism for nearly sixty years. Employing in these moments a conversational tone, speaking directly to the reader in his own voice about his own work, he reviews the genesis and development of his theories and critical constructs in light of Anri Sala's videos, creating a highly productive back and forth between Sala and the contemporary art world on the one hand and Fried's often more historical studies and concepts on the other. For readers of Michael Fried, the result is not only a stimulating discussion of Sala and the artistic and theoretical tradition in whose light his work can be viewed, but also a vital reflection on Fried's own foundational ideas, how they came to be and how they are relevant today.

Epigraph Introduction 1 1. A Riff in Time: Le Clash (2010) and Tlatelolco Clash (2011) 16 2. Sala with Schiller: World, Form and Play in Mixed Behaviour (2003) 53 3. Improvisations (2010): A Conversation with Edi Rama 86 4. Presentness Found and Lost: Air Cushioned Ride (2006) and A Spurious Emission (2007) 99 5. After the Siege: 1395 Days without Red (2011) 147 Coda: If and Only If (2018) 197 Acknowledgements 221 List of Works 222 About the Artist and Author Colophon

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Publié par

Indiana University Press

Date de parution

04 avril 2023

Nombre de lectures

EAN13

9780253068569

Langue

English

Poids de l'ouvrage

1 Mo

1 16 53 86 99

147 197

221 222

Contents

Introductîon 1. A Rîf în Tîme:Le Clash(2010) andTlatelolco Clash(2011) 2. Saa wîth Schîer: Word, Form and Pay înMixed Behaviour(2003) 3.Improvisations(2010): A Conversatîon wîth Edî Rama 4. Presentness Found and Lost:Air Cushioned Ride(2006) andA Spurious Emission(2007) 5. Ater the Sîege:1395Days without red(2011) Coda:If and Only If(2018)

Acknowedgements Lîst o Works About the Artîst and Author Coophon

I started to get înterested în somethîng bîgger than the îmage, somethîng that prînts the îmage rather than somethîng that îs prînted în the îmage—somethîng that answers to a necessîty, an urgency, a drîve that enabes you to set up the word agaîn through an îmage, even î ony or one mînute. Such precîse moments make you ee rîght; they make you ee connected. —Anrî Saa

‘From Sîence to Language and Back Agaîn’ (a conversatîon between Lynne Cooke and Anrî Saa),Parkett73(2005):76. Quoted and brîeﬂy dîscussed în Mîchae Frîed, ‘Introductîon (Optîona)’ înFour Honest Outlaws: Sala, Ray, Marioni, Gordon(New Haven: Yae Unîversîty Press,2011),24.

Introductîon

Thîs book maîny comprîses our essays on îndîvîdua or paîrs o vîdeos (or ﬁms and vîdeos, an orîgîna ﬁmîng havîng been converted to vîdeo) by Anrî Saa, pus a short Coda on an addîtîona vîdeo, brîngîng the tota number o works sînged out în these pages to seven. In addîtîon, ît încudes the text o a short conversatîon between Edî Rama, at that tîme mayor o Tîrana, Abanîa and a cose rîend o Saa’s, and me, a conversatîon whîch, în the orm o a recordîng, was part o an exhîbîtîon o doodes by Rama în Berîn în2010(arranged by Saa; more on thîs urther on). Saa, born în Tîrana, Abanîa în1974, studîed art în Tîrana, Turcoîng and Parîs and has îved în Berîn sînce2004; hîs exhîbîtîon hîstory îs extensîve, wîth major shows în Parîs, Munîch, London, New York,Venîce, Humebaek (the Louîsîana Museum o Modern Art în Denmark) and Bregenz among other venues, and he has been awarded prestîgîous înternatîona prîzes. I have wrîtten about Saa beore: the ﬁrst essay în my bookFour Honest Outlaws: Sala, Ray, Marioni, Gordon(2011) consîsts în an extended dîscussîon o hîs remarkabe, not-quîte-thîrteen-mînute-ong vîdeoLong Sorrow(2005), ﬁmed în Berîn, aong wîth a shorter

 anaysîs o a seemîngy sîmper but no ess sophîstîcated work,After Three  Minutes(2004). Aso, în a Postscrîpt to that book, I ofer some observatîons  about hîs vîdeoTime after Time(2003). My acquaîntance wîth Saa’s art goes back to the sprîng o2007, when I ﬁrst encounteredLong Sorrowat the Marîan Goodman Gaery în New York. I had gone there to see an exhîbîtîon o recent photographs by Jef Wa, butLong Sorrowwas on vîew în a separate room, and as I was on my way out o the gaery ît caught my eye. At ﬁrst I was amost repeed by an extreme cose-up sequence o the ace o the ree saxophonîst Jemee Moodoc ﬁercey împrovîsîng on hîs i n t r o d u c t i o n înstrument on a sma patorm hîgh above the Berîn streets, but then somethîng about the vîdeo caîmed my attentîon and I stood transﬁxed or about an hour, watchîng ît over and over. By the tîme I tore myse away I was convînced that, on the strength o that sînge work, Saa was an artîst o rea sîgnîﬁcance. Then în2007–8I spent a year on a eowshîp to the Wîssenschatscoeg zu Berîn, în the course o whîch I got to know Saa personay. Thîs came about through a prîor rîendshîp wîth the photographer Thomas Demand, who then îved în Berîn and întroduced me to Saa; înevîtaby, conversatîons wîth Saa în hîs studîo and esewhere added greaty to my understandîng o hîs project, and the years that oowed have ony deepened my apprecîatîon o hîs overa achîevement.

The essays that oow were wrîtten îndîvîduay, at ﬁrst wîth no thought o eventuay gatherîng them în a book. Thus the ﬁrst essay, on Saa’sLe Clash(2010) andTlatelolco Clash(2011), was pubîshed în the cataogue or Saa’s  2012exhîbîtîon at the Pompîdou Centre în Parîs, and the second, on the short vîdeoMixed Behaviour(2003), appeared în the cataogue or Saa’s exhîbîtîon at the Serpentîne Gaery în London în2011and was then made avaîabe în  a n rthiesonaîlneajournanonsite.orgthere îs the transcrîptîon o my. Then 2010conversatîon wîth Edî Rama, the cîrcumstances surroundîng whîch wî be expaîned by way o întroducîng the transcrîptîon. The thîrd essay (chapter our), onAir Cushioned RideandSpurious Emission(both2006), the ourth essay (chapter ﬁve), on1395Days without red(2011), and the Coda onIf and Only If(2018), were wrîtten wîth no pubîcatîon în vîew. At a certaîn poînt, o course, the îdea o brîngîng a the texts together în a book became înescapabe, whîch îs what I am doîng here and now. As the above makes paîn, the works dîscussed în the essays date rom dîferent moments în Saa’s career. There are, however, varîous emphases that the essays have în common, and ît wî be hepu to revîew these at the outset. I sha do thîs as economîcay as possîbe, both because the topîcs are taken up în the essays



themseves and because they are deat wîth at some ength înFour Honest Outlaws. I shoud aso mentîon that there wî be a certaîn overap wîth regard to specîﬁc îssues rom essay to essay; I have chosen to et that overap stand, rather than seek to împose a sînge argumentatîve structure on the book as a whoe. The îssues I have în mînd are:

1.The relation of the image track to the sound track. In Saa’s works the vîewer (more precîsey, the vîewer/îstener, but or sîmpîcîty’s sake I sha reer maîny to the vîewer) îs requenty made aware o the îndependence or separateness o i n t r o d u c t i o n the two tracks, whîch the vîdeo proceeds to brîng together, to conjoîn, în varîous specîﬁc ways. No doubt sîgnîﬁcanty, thîs goes back to hîs earîest mature work (made when he was stî a student at the Écoe natîonae supérîeure des Arts Décoratîs în Parîs), the remarkabe1998vîdeoIntervista(finding the words), whîch begîns wîth Saa dîscoverîng a ree o back-and-whîtemm ﬁm rom the1970s coverîng a Communîst Party poîtîca ray eaturîng Enver Hoxha, then the absoutîst ruer o Abanîa, as we as Saa’s then thîrtyîsh mother Vadet, a Communîst Youth eader, who aterwards takes part în an întervîew în support o the Party. It quîcky emerges, however, that the ﬁm acks a soundtrack,

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