Guido van der Werve
Autor von Guido Van Der Werve: Nummer Tien
Werke von Guido van der Werve
Getagged
Wissenswertes
Für diesen Autor liegen noch keine Einträge mit "Wissenswertem" vor. Sie können helfen.
Mitglieder
Rezensionen
Statistikseite
- Werke
- 1
- Mitglieder
- 6
- Beliebtheit
- #1,227,255
- Rezensionen
- 1
- ISBNs
- 1
Like Ader’s, van der Werve’s approach is performance-oriented and often demands great physical commitment. The artist places himself in risky situations for his works, with dangers from natural elements such as water (like the sea, where Ader was lost in his one-man boat in 1975), which stand for alienation from society or a striving for deeper human truths. This is particularly clear in his two most recent films (both from 2007). Nummer acht: everything is going to be alright shows van der Werve crossing the frozen Gulf of Finland, followed by a meter-high icebreaker that splits the ice behind him dangerously. For nummer negen: the day I didn’t turn with the world, the artist stood on the point in the Arctic around which the Earth rotates and turned in the opposite direction for twenty-four hours.
Van der Werve titles his films, which can take as long as a year to produce, with numbers. The titles, nummer twee to nummer negen (Number two to number nine), refer to an ongoing project by the artist. The films are divided into several chapters that can refer to chapters in other works within the series. This spring, the films came together into a comprehensive publication titled nummer tien: works 2003–2007, which includes stills from all of van der Werve’s films.
The numbering of his works can be understood in relation to musical notes or to the titles of classical compositions by Chopin, Rachmaninoff and Mozart. For van der Werve, who studied classical piano, classical music is an important element he employs in his films as to suggest narrative. The classical pieces can exist at the beginning of the film as an idea and lend the scenes a poetic, even emotionally charged atmosphere. The pathos that results from the music is repeatedly interrupted, however; for example, when the artist, at the end of his film nummer vier: I don’t want to get involved in this, I don’t want to be part of this, talk me out of it, in which, among other things, he is seen playing piano on a raft in a lake, suddenly falls from the sky into a river. In nummer zes: Steinway grand piano. Wake me up to go to sleep and all the colors of the rainbow, which tells the story of the Steinway Piano Company, in the course of the narrative, a Steinway grand piano is transported by crane from the street into the artist’s apartment, where he plays a concerto by Frédéric Chopin accompanied by a symphony orchestra.
At Kunsthalle Basel, Guido van der Werve will present his films numbered two to nine under the title On parity of days. The films change daily: On even-numbered days, numbers two, four, and six will be shown. On odd-numbered days, numbers three, seven, and nine. Like a fixed point, nummer acht: everything is going to be alright will be projected constantly in the middle of the exhibition. By changing the films, the artist is thematizing his conceptual approach to the perception and calculation of time and rejects the daily sameness of conventional exhibition presentations. The visitors will see a different exhibition depending on the date of their visit. They are, however, given the opportunity to return the following day with the same ticket to view the other configuration of films. By employing this exhibition concept, the artist is also focusing on the main motif in his works: fascination with both the predictable and the unexpected events of life.… (mehr)