August 21st, 2014

Brice Dellsperger at Team Gallery

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Artist: Brice Dellsperger

Venue: Team Gallery, New York

Exhibition Title: Body Double: Vous N’en Croirez Pas Vos Yeux

Date: June 8 – August 1, 2014

Click here to view slideshow

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Full gallery of videos, images, press release and link available after the jump.


Videos:

Body Double 1, 1995. Single-channel color video, 48 seconds, repeated. After Dressed to Kill (Brian De Palma).

 

Body Double 2, 1995. Single-channel color video, 30 seconds, repeated. After Body Double (Brian De Palma).

 

Body Double 3, 1995. Single-channel color video, 1 minute 50 seconds, repeated. After Body Double (Brian De Palma).

 

Body Double 4, 1996. Single-channel color video, 6 minutes 4 seconds, repeated. After Psycho (Alfred Hitchcock) and Sunset People (Donna Summer).

 

Body Double 5, 1996. Single-channel color video, 5 minutes 40 seconds, repeated. After Dressed to Kill (Brian De Palma).

 

Body Double 6, 1996. Single-channel color video, 36 seconds, repeated. After Sisters (Brian de Palma).

 

Body Double 7, 1996. Single-channel color video, 2 minutes 57 seconds, repeated. After Sisters (Brian de Palma).

 

Body Double 8, 1997. Three-channel color video, 3 minutes 6 seconds each, repeated. After Return of the Jedi (Richard Marquand).

 

Body Double 9, 1997. Three-channel color video, 1 minute 19 seconds each, repeated. After Blow Out (Brian De Palma).

 

Body Double 10, 1997. Single-channel color video, 1 minutes 27 seconds, repeated. After Obsession (Brian de Palma).

 

Body Double 11, 1997. Single-channel color video, 3 minutes 22 seconds, repeated. After Obsession (Brian de Palma).

 

Body Double 12, 1997. Three-channel color video, 2 minutes 18 seconds, repeated. After Blow Out (Brian De Palma).

 

Body Double 13, 2001. Single-channel color video, 2 minutes 17 seconds, looped. After Saturday Night Fever (John Badham).

 

Body Double 14, 1999. Single channel color video, 4 minutes 19 seconds, repeated. After My Own Private Idaho (Gus Van Sant).

 

Body Double 15, 2001. Single-channel color video, 8 minutes 37 seconds, repeated. After Dressed to Kill (Brian De Palma).

 

Body Double 16, 2003. Single-channel color, video 6 minutes 10 seconds, repeated. After A Clockwork Orange (Stanley Kubrick) and Women in Love (Ken Russell).

 

Body Double 17, 2001. Single-channel color video, 16 minutes 27 seconds, repeated. After Twin Peaks: Fire Walk with Me (David Lynch).

 

Body Double 18, 2003. Three-channel color video, 3 minutes 16 seconds each, repeated. After Mulholland Drive (David Lynch).

 

Body Double 19/20, 2004. Single-channel color video 6 minutes 19 seconds, looped. After Flash Gordon (Mike Hodges).

 

Body Double 21, 2005. Single-channel color video, 19 minutes 56 seconds, repeated. After The Rules of Attraction (Roger Avary).

 

Body Double 22, 2010. Single-channel color video, 37 minutes. After Eyes Wide Shut (Stanley Kubrick).

 

Body Double 23, 2010. Single-channel color and black and white video, 7 minutes 28 seconds, looped. After The Black Dahlia (Brian De Palma).

 

Body Double 25, 2010. Single-channel color video, 2 minutes 38 seconds, repeated. After The Entity (Sydney J. Furie).

 

Body Double 26, 2011. Single-channel color video, 6 minutes 8 seconds, repeated. After Hollywood Babylon I/II (Kenneth Anger).

 

Body Double 27, 2010. 3 channel color video, 8 minutes 15 minutes each, repeated. After In a Year with 13 Moons (Rainer Werner Fassbinder).

 

Body Double 28, 2013. Single-channel color video, 2 minutes 46 seconds, looped. After Miami Vice (pilot): Brother’s Keeper (Thomas Carter).

 

Body Double 29, 2013. Single-channel color video, 2 minutes 58 seconds, looped. After Postcards from the Edge (Mike Nichols).

 

Body Double 30, 2013. Single-channel color video, 2 minutes 49 seconds, repeated. After Dressed to Kill (Brian De Palma).

 

Body Double 31, 2014. Single-channel color video, 7 minutes 30 seconds, looped. After Basic Instinct (Paul Verhoeven).

 

Body Double (X), 2000. Single-channel color video, 102 minutes. After L’important c’est d’aimer (Andrezj Zulawski).

 

Ladies & Gentlemen, 1995. Single-channel color video, 4 minutes 29 seconds, repeated. After Be Thankful For What You’ve Got (Massive Attack/ Baillie Walsh).

 

Ladies & Gentlemen (2), 2005. Single-channel color video, 20 minutes, looped. After Be Thankful For What You’ve Got (Massive Attack/Baillie Walsh).

 

Images:

Videos and images courtesy the artist, Team Gallery, New York and Air de Paris, France

Press Release:

Team (gallery, inc.) is pleased to announce a solo show by French artist Brice Dellsperger. Entitled BODY DOUBLE: VOUS N’EN CROIREZ PAS VOS YEUX, the exhibition will take place in both our gallery spaces from 08 June through 31 July 2014. Team Gallery is located at 83 Grand Street, cross streets Wooster and Greene, and 47 Wooster Street, cross streets Grand and Broome.

For the past two decades, Dellsperger has developed a vast, nearly overwhelming body of work, titled Body Double after Brian De Palma’s psycho-sexual thriller of the same name. The oeuvre consists of thirty video works, investigations into the conceptual, social and formal tropes that inform cinema and spectatorship. Both reverent and destructive towards his source material, the artist’s practice voraciously cannibalizes and digests iconic moments in film. The resultant works are arresting, both viscerally affecting and deeply cerebral, heavily informed by film and queer theory.

The act of doubling is among the work’s central conceits; contending not only with issues of material and visual replication, but also with the duplicative nature of film itself. Dellsperger elaborately reproduces famous movies with varying degrees of loyalty to the original texts. He most often casts just one or two actors, most often himself or the artist Jean-Luc Verna made up as women, in all roles. Certain elements – narrative chronology, characters’ original gender identities – are frequently abandoned, while others – score, dialogue – remain intact. Each artwork is the drag-queen doppelganger of its source: a dedicatedly faithful and wholly recognizable copy, but one that is forthcoming with its artificiality.

The content and the title are direct references to Brian De Palma, specifically to the titular 1984 film, which skewers Hollywood through a depiction of its underworld double – the porn industry. The title Body Double refers simultaneously to this original source material, the artist’s use of surrogate actors and to De Palma’s own repeated use of three films by Alfred Hitchcock, Rear Window, Vertigo, and Psycho, as blueprints to build upon. Dellsperger’s similarly imitative works are complex and unending mirrors, reflecting their own reflections ad infinitum. He rejects the notion of artist as demiurge; the act of reframing pre-existing materialfunctions crucially and visibly at every level of his art.

The works subvert the straightforward readings of sexual identity we expect when we go to the movies. For example, a scene from De Palma’s Dressed to Kill is re-enacted by the artist dressed as a woman, portraying both halves of a heterosexual couple. The original sequence relies on ambiguity: the viewer derives excitement from her confusion as to who is following whom. The Body Double version creates a secondary queer narrative of lust and narcissistic abandon, while also leaving the original power of De Palma’s film intact. Dellsperger’s piece also acts as a metaphor for the mimetic relationship between film and life – the “chase scene” that takes the cinematic and the real as its ever-trysting protagonists.

The gallery will show all thirty extant works from the series. The program changes weekly, repeating itself mid-way through the exhibition to give viewers several chances to view all the pieces. Our Grand Street space will show one video each week as a large-scale single channel projection. The Wooster Street space will be treated as something of a lab, in which five monitors display single-channel pieces, while a triptych of flat screens exhibit Dellsperger’s multiple-channel films. Many of these works have never been screened in New York. Among the texts re-interpreted by the artist are those of such vaunted auteurs as Kubrick, Anger, Lynch, Zulawski, Hitchcock and Fassbinder; lesser-respected works chosen by Dellsperger for their pop cultural power (Saturday Night Fever, Return of the Jedi and Flash Gordon among them) and, of course, many troublesome, still controversial scenes from the work of De Palma.

Two additional screenings of Dellperger’s work will take place outside of the gallery at Anthology Film Archives, 32 Second Avenue. On 07 July at 7 PM, we will show Body Double 22, after Kubrick’s Eyes Wide Shut, accompanied by a short titled Ladies and Gentlemen. On 29 July at 7 PM, we will present the feature-length Body Double X, after Zulawski’s That Most Important Thing: Love. Both screenings are free.

Dellsperger has had numerous solo exhibitions at galleries and museums internationally, including Kunstbunker, Nurnberg, Germany; The Akbank Art Center, Istanbul, Turkey; La Conservera, Murcia, Spain; Midway Contemporary Art, St. Paul, Minnesota; and Le Consortium, Dijon, France. He participated in an exhibition along with Jean-Luc Verna, at FRAC Alsace, France, in June of 2011. His work is represented in numerous public collections including that of the Museum of Modern Art here in New York.

This is Dellsperger’s fourth solo show at Team.

Link: Brice Dellsperger at Team Gallery

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