Kristijan Markli | Christian Marclay
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Christian Marclay Image 1 Christian Marclay Image 2
Telefoni, 1995. (kadrovi iz videorada)
Telephones, 1995 (video stills)


Born in 1955 in San Rafael, California, USA
lives and a works in New York

www.yvon-lambert.com
www.artnet.de/gallery/

Telephones, 1995 (video stills)
Courtesy Paula Cooper Gallery, New York

For his video Telephones Marclay combined brief clips from a substantial number of well-known feature films. A series of short and rapidly-cut sequences of fragments of phone conversations are strung together. At first one sees people dialing numbers and ringing telephones. Then there follows a succession of people who pick up the phone, answer and speak. The series ends with farewells and the phone being hung up. Although the phone conversations remain a mystery due to the semantic and visual gaps, and jump, for example, from Whoopi Goldberg to Clark Gable to Lee Remick to Humphrey Bogart, Marclay succeeds in creating the impression of a self-contained phone call. Telephones visualizes the audible components of film: we not only hear the telephone but we see the dialing, answering and hanging up. At the same time the artist reminds us – ironically, given the visual context – that the telephone is a sound instrument. It allows us to communicate without necessarily being seen, and without being able to see to whom we are speaking. This inability to see our interlocutor is highlighted in one scene of the video when the actress Jessica Walter cries out: “If only l could see you, and only speak with you”. Edited traditionally, this film sequence would be followed by a shot of the interlocutor, but Marclay undermines this filmic convention by showing an actor from another film. The frustration of the actress is also shared by the viewer, for we too are unable to see who is on the other end.

English: creativ Übersetzungen, Cologne

Rođen 1955. godine u San Rafaelu, SAD, živi i radi u Njujorku.

www.yvon-lambert.com
www.artnet.de/gallery/

Telefoni, 1995. (kadrovi iz videorada)
Ljubaznošću Paula Cooper Gallery, Njujork

U videoradu Telephones, Markli je kombinovao inserte iz priličnog broja poznatih igranih filmova. Delovi telefonskih razgovora su spojeni kratkim i veoma brzo montiranim sekvencama. Najpre se vide ljudi koji biraju telefonske brojeve i telefoni koji zvone. Zatim sledi čitav niz ljudi koji dižu slušalicu, odgovaraju na poziv i razgovaraju. Serija se završava frazama kojima se završava telefonski razgovor i spuštanjem slušalice. Iako su razgovori, usled vizuelnih i semantičkih praznina, nepotpuni, preskačući, na primer: od Vupi Goldberg, do Klerka Gebla, do Li Remik i dalje, do Hemfrija Bogarta, Markli postiže efekat jednog celovitog telefonskog razgovora. Telephones vizualizuje zvučne komponente filma: ne samo da čujemo telefon, nego i vidimo kako se okreće brojčanik, odgovara na poziv i spušta slušalica. Umetnik nas ujedno podseća - s ironijom u odnosu na vizuelni kontekst - da je telefon instrument koji proizvodi zvuke. Dozvoljava nam da komuniciramo, a da ne moramo da budemo viđeni, pri čemu nismo u mogućnosti da vidimo s kim razgovaramo. Ta nesposobnost da se vidi sagovornik posebno se ističe na jednom mestu ovog videorada kada glumica Džesika Valter (Jessica Walter) uzvikuje: “Kada bih samo mogla da te vidim i razgovaram s tobom”. Dok bi kod uobičajene filmske montaže nakon ove sekvence usledila slika sagovornika, Markli podriva ovu filmsku konvenciju tako što u sledeći kadar ubacuje glumca iz nekog drugog filma. Frustracija glumice odgovara onoj koju doživljava posmatrač, jer ni mi ne možemo da vidimo šta se nalazi na drugom kraju žice.