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Indepth Arts News:

"Bruce Nauman: Theaters of Experience"
2003-10-31 until 2004-01-18
Deutsche Guggenheim
Berlin, , DE

Bruce Nauman is one of the most influential and innovative artists of our time. From October 31, 2003 through January 18, 2004, the Deutsche Guggenheim will present Bruce Nauman: Theaters of Experience, a selection of his works dating from 1966 to 1990. The wide spectrum of mediums used by Nauman, ranging from video to holography to neon, mirrors the thematic diversity of his production, which investigates the nature of the artmaking process as well as the nature of the human condition. The focused exhibition on view in the space on Unter den Linden addresses the artistís use of performance strategies as a means for enhancing the self-awareness of both artist and onlooker.

Like many artists who began working in the 1960s, Nauman rejected the traditional, self-contained art object in order to create an art of real experience. Inspired by the participation or "performance" of the viewer inherent in all sculpture, which requires the spectator to walk around it, Nauman began making works which first featured his own movement, and subsequently, that of his audience. Naumanís interest in art which expresses the passage of time was further influenced by his awareness of contemporaneous avant-garde dance, music, and film. Artists such as Meredith Monk, Steve Reich, and Andy Warhol were exploring the aesthetic and conceptual aspects of duration and repetition as well as incorporating remnants of the everyday in their own compositions. Likewise, using his studio as a kind of lab-theater, Nauman examined his own daily routines and habits, such as pacing back and forth, and began recording these simple, and increasingly scripted tasks on film. "An awareness of yourself," the artist has said, "comes from a certain amount of activity... ". Given Naumanís interest in word play and puns, it is difficult to disassociate his focus on deliberate activity from the wordís root Ė to act Ė the dual meaning of which often collapses in Naumanís work. When one acts with a level of self-consciousness, one becomes an "actor." As Nauman repeats a variety of gestures over and over again for the camera (as we all repeat the rituals which give shape and meaning to our lives), he simultaneously frames them as both absurd and captivating. Played continuously the videos present a narrative without beginning or end and capture lifeís own strange continuum.

Naumanís early focus on himself as both material and subject switched to the viewer in the 1970s. Performance Corridor (1969), the first of his constructed environments, marks the transition between works that feature the artist as performer and those for which he became the director behind the scenes. Made from plywood and measuring twenty feet long and only twenty inches wide, the narrow passageway (originally designed to the width of the artistís hips) was first conceived as a prop for the work Walk with Contrapposto (1968). In the video, the artist is seen parading down the corridor in the stylized pose of classical sculpture. The historical function of this exaggerated stance was to create the illusion of movement in a static figure. Nauman is perhaps making the point that in art which allows for real action, such devices are unnecessary. Not long after making this piece, the artist realized that the viewer could enact the same action or performance, and in so doing experience a keener sense of his or her physical and perceptual states. Nauman disappeared from his work and his subsequent series of corridors and rooms became the stage sets upon which he would choreograph the viewerís activities and responses.

Incorporating mirrors, cameras, and monitors into his rather restricting environments, the artist allows the viewer to watch his own performance, yet he or she is often confronted with a simultaneous recognition and mis-recognition of his or her variously truncated, masked or inverted image. Reminiscent of fun-house distortions, they inspire a similar uncertainty in what is real or unchanging. Like his studio films which offered no satisfying resolution, the corridors also deny the viewer the comfort of the familiar.

In the 1980s, as his work became more political, the artist introduced more overtly theatrical characters, including clowns, jesters, and mimes, into his vocabulary and emphasized the masquerade characteristic of the social theater. Like the corridors (and the artistís language-based works), these pieces also suggest the normally unquestioned exterior forces that often dictate behavior and inform the self. Mean Clown Welcome (1985), which depicts two clowns who attempt over and over to shake hands but never quite connect, reenacts the alienation from the self that the viewer experienced in the corridors but with an "other." Simultaneously recognizable and hidden behind a mask, the clown may be yet another mirror image of the audience and our own rather tragi-comic situation on the world stage - our frequent failure to communicate with one another. The exhibition concludes with Raw Material ĖBRRR (1990), a video installation that signals Naumanís reappearance as the primary focus of his work after twenty years. Recalling his earlier examinations of the self through bodily exercises, the work shows the artistís image multiplied, distorted, and disembodied. As a "talking head" Ė another type of performer ĖNauman spouts incessantly what seems to be a meaningless sound or a response to feeling cold or what can also be read as the first letters of his name Ė "BRRR." Nauman may be reintroducing himself to us with this work, whose title, Raw Material, suggests a state of potential and reminds us of the possibility that lies within Naumanís existential theater through the power of self-examination, despite the discomfort it may provoke.

Bruce Nauman
Art Make-up No. 2: Pink (Detail), 1967-1968
16mm color films, silent - Videostill
COPYRIGHT VG Bild - Kunst, Bonn 2003 / 2004

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