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Victor Burgin
Police of Mind

aus der Serie US77
kulturstiftung phoenix art / sammlung falckenberg - hamburg 2008

 

 

In der Sammlung Falckenberg sind zwei selten gezeigte Fotoserien von Victor Burgin zu sehen, die zuletzt 2007 in der Ausstellung "PANIC ATTACK! ART IN THE PUNK YEARS" in der BARBICAN GALLERY, LONDON ausgestellt wurden:

UK76 und US77

In UK76 und US77 überzieht Victor Burgin schwarz-weiße Fotografien, die typische Motive aus Großbritannien und den USA ( soziale Landschaften ) zeigen, mit Textpassagen aus der Werbewelt ( mediale Landschaften ). Hierbei wird die Kluft zwischen der harten Arbeiterwirklichkeit und den von den Medien propagierten modischen Lebensstilen deutlich.

1970er Jahre. Die britische Wirtschaft steht vor dem Kollaps. Margaret Thatcher leitet die neoliberale Demontage jeglicher sozialer Errungenschaften ein. Die Labour Party hat sich von der Arbeiterklasse entfernt. Viele Jugendliche sind angesichts steigender Massenarbeitslosigkeit ohne Perspektive. Der Slogan No Future! entspricht dem Zeitgeist.


Today Is The Tomorrow You Were Promised Yesterday
Victor Burgin aus der Serie UK76 | 11 gelatin silver prints mounted on aluminum
kulturstiftung phoenix art / sammlung falckenberg - hamburg 2008


Victor Burgin (* 1941 in Sheffield, England) ist ein britischer Künstler. Er wurde Ende der 1960er Jahre als Mitbegründer der Konzeptkunst bekannt. In den 1970er Jahren bestanden seine Arbeiten meist aus großformatigen fotografischen Sequenzen verbunden mit Schrift. Er bezeichnet Malen als "anachronistisches Beschmieren von gewebtem Gewebe mit farbigem Dreck".

In his UK76 and US77 photographic series (1976 and 1977) Victor Burgin overlays black and white photographs typifying Britain and the USA with passages that ape advertorial speak, etching out the gaps between grim working class reality and the fashionable lifestyles fed out by the media.

Victor Burgin Interview | ZgPress by Rosetta Brooks

RB: There seems to. be a quite definite change in artists’ use of photography in the ’70s. From the almost documentary use of conceptual artists, it seemed to evolve into a reflection of the medium itself. How do you relate this change in your work?

VB: I think there are two main attitudes. You can think about the medium in almost purely technological terms: to take a photo-graph is to exercise a number of options - plane of focus, shutter-speed, aperture, framing, angle, and so on - and the ‘content’ of the work becomes your choice from amongst these options and the way you structure them. This is an attitude which comes very directly out of Greenbergian modernism. Or, you can start from the fact that photography was invented to give an illusionistic rendering of some aspect of. the world in front of the camera - which leads into considerations of representation and narrative - which is what I’m interested in.

RB: Your pictures and your texts often seem like quotations. One gets no sense of a single voice from the words. The texts range from the documentary to the almost poetic, but I find there is more of a trace of style in the photographs; They all at least remain within the documentary genre.

VB: What I’ve always aimed for in the texts is a ‘lapidary’ style - the idea originates in classical antiquity - it’s a style suitable to inscriptions carved in stone - terse, economical, all that… The work called Us 77 has three distinct voices, didactic, narrative and paradoxical. As far as the images are concerned, I used a documentary style because of three things: first, I believed that that was what photography did best; second, I tend to have a cut and dried approach to things, so I wanted to put myself in a situation, - the street - where it was impossible to be fully in control third, who knows what appearances of our period are going to be interesting to people in 100 years time ‘or’ more? Maybe it’s something in the street we don’t even think about now.

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Victor Burgin
Framed

aus der Serie US77
kulturstiftung phoenix art / sammlung falckenberg - hamburg 2008

 

 

 

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