Ane Ulofson | Anneè Olofsson
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Olofsson Image 1
Olofsson Image 2
Urokljivo oko, 2004. (kadar iz videorada)
Evil Eye, 2004 (Video stills)


Born in 1966 in Hässleholm, Sweden
lives and works in Stockholm

www.gonemo.com

Evil Eye, 2004 (Video stills)
Video transferred to DVD, 10:00 mins., colour, sound
Courtesy Mia Sundberg Galleri, Stockholm

Warning: Content May Disturb: Recommended for Mature Audiences

While we are regularly exposed to graphic violence on television, we are rarely confronted with such subject matter in an art gallery. The victims of violence are all too frequently women; their voices are most often silenced. Olofsson contemplates this stark reality in her artwork. Evil Eye could at once be an epic condemnation of violence against women revealing universal proportions, as Olofsson recounts countless acts of murder; a monotone verbal diatribe of stories conjoined by their basis around the first person “I” upon whom the violence is perpetrated; and by extension, perpetuated. Compounded upon one another the stories gain momentum to verge on the ridiculous, while they are linked by the presence of the woman on screen, by the melodic continuity of Bach’s keyboard concerto accompaniment.

Seemingly her eyes don’t blink at all. They stare directly at us. It becomes apparent that these staring blue eyes are in fact handcrafted simulacra and camouflage. Her eyes blink and open and we are very much aware this is a make-up decoy. The deadpan single shot upon her motionless face is steady until the fade out end. It could repeat ad infinitum, perhaps like the cycle of violence; and yet it is she who takes morbid pleasure in recounting the stories for our voyeuristic pleasure; or perhaps simply to pleasure her own contemplation of death. The single shot saves the performance from coming close to hysteria as does the disembodied voice-over deliverance of her multiple grim fates. The credits allow us at the end to finally comprehend that these tales of murder are actual – an abridged snapshot of murder collated and distilled from magazines, attesting to a much wider sociological fascination. But every one of these deaths has come back to haunt her, and, as the artist would have it, us.

Alice L. Hutchinson

Rođena 1966. u Hasleholmu, Švedska.
Živi i radi u Stokholmu.

www.gonemo.com

Urokljivo oko, 2004. (kadar iz videorada)
Video prebačen na DVD, 10:00 minuta, boja, zvuk
Ljubaznošću galerije Mia Sundberg, Stokholm

Upozorenje: sadržina može biti uznemirujuća, preporučuje se za odraslu publiku.

Premda smo redovno izloženi surovim prizorima nasilja na televiziji, retko se sa takvom tematikom suočavamo u nekoj umetničkoj galeriji. Žrtve nasilja su odveć često žene; njihovi glasovi se najčešće ne čuju, one su ućutkane. Olofsonova, u svom umetničkom radu, promišlja ovu neprijatnu stvarnost. Video Urokljivo oko mogao bi predstavljati snažnu osudu nasilja nad ženama, osudu koja razotkriva njegove sveopšte razmere, dok Olofsonova govori o bezbrojnim ubistvima, kao što bi to mogao biti i niz monotonih optužujućih priča spojenih time što su utemeljene na pripovedačkom ''ja'' koje trpi nasilje, a to se nasilje, kako je nagovešteno, i dalje nastavlja. Nadovezujući se jedna na drugu, te priče dobijaju na zamahu do te mere da gotovo postaju smešne, povezane prisustvom žene na ekranu i kontinuitetom Bahovog koncerta za klavir koji predstavlja muzičku pratnju.

Imamo utisak da ta žena uopšte ne trepće. Njene oči zure pravo u nas. Postaje očigledno da su te plave oči koje nas netremice gledaju zapravo ručno napravljeni simulakrumi i kamuflaža. Njene oči trepću i otvaraju se, a mi smo uveliko svesni da je to varka ostvarena pomoću šminke. Bezizražajni, jedini kadar u kome je njeno nepomično lice ostaje nepromenjen, sve dok se, na kraju, ne izgubi. Mogao bi se ponavljati do u beskraj, i biti, možda, nalik ciklusu nasilja. Pa ipak, ona je ta koja nalazi morbidno zadovoljstvo u tome da priča priče radi našeg voajerističkog zadovoljstva ili, naprosto, zato da bi nahranila svoje sopstveno promišljanje smrti. To što se snimak sastoji od jednog jedinog kadra sprečava da se ova predstava približi histeriji, za razliku od bestelesnog glasa koji izvan kadra govori o mnogostrukim surovim sudbinama. Špica nam, na kraju, omogućava da shvatimo kako su ove priče o ubistvima stvarne – tu je skraćeni snimak ubistava preuzetih iz časopisa, i onda sažetih, koji svedoči o mnogo široj sociološkoj fasciniranosti. Ali nju progoni svaka od ovih smrti, a po njenoj volji umetnice, progoni i nas.

Elis L. Hačinson