Shana Moulton in London...
6:10 p.m.
In a former Methodist church, in northern London, the Zabludowicz present artists that are part of their collection. This time it's the turn of Shana Moulton (USA, 1976), who made an impressive use of the space in question.
Moulton's work combines video, performance and installation through an alter ego of her called Cynthia. Cynthia appears in a kitsch environment, doing acrobatics, inside a steam machine or simply dancing, all done with humor.
The first room, previously dedicated to worshipping, presents a tall pink tower, with screens of different sizes. In one of them Cynthia appears trapped inside, as a clear reference to Saint Barbara, a martyr incarcerated for not obeying her father who wanted her to marry. The other screens show different storytale women, trapped in medieval castles by their evil stepmothers.
The Pink Tower, by Shana Moulton (2019)
Material: timber structure, TV flat screen, videos.
Over the altar, a site-specific waterfall finishes in a pool (everything the result of a video illusion), with eye-clocks that follow the fall of the water. The artwork is completed when the visitors climb the platform and change the projection with their shadows.
The Waterfall of Grief, by Shana Moulton (2009)
Material: “eye-clocks”, pool effect, Hebe goddess statues, ferns, video projection, sound.
In the next room, two video installations are projected: in one of them Cynthia is inside an individual sauna, asking herself simple questions, while the answers are reflected by the expressions on her face. Then she dances frenetically in a luminic kaleidoscope, seeking an interspacial connection.
Personal Steam Interface, by Shana Moulton (2019)
In the last room, completely dark, we see 5 videos in which femininity is related to ecology and spirituality. It's a conjunction between her alter ego and her intention to become an activist for the survival of plants and animals.
Whispering Pines 10, by Shana Moulton (2019)
In all of Moulton's works, transformed as Cynthia, she carries out a performance, which is taped and then edited. The sum of all the videos on display creates an operatic effect inside the rooms, thanks to the acoustic of the space.
With a critical reference to exaggerated consumerism, Cynthia shows us how to transfix into animals, to coexist with nature and achieve spirituality.
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