__ COMMODITY FETISHISM
 
 
 

FILMSTILLCOMMODITY FETISHISM


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FILMSTILLCOMMODITY FETISHISM

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FILMSTILLCOMMODITY FETISHISM



FILMSTILLCOMMODITY FETISHISM






FILMSTILLCOMMODITY FETISHISM



mportanc‘est d‘aimer” (1975) by Andrzej Zulaws

FILMSTILLCOMMODITY FETISHISM i
l

mstill: L‘important c‘est d‘aimer / 197


FILMSTILLCOMMODITY FETISHISM
FILMSTILL WAYS OF ESCAPE / 2010
ilmstill: L‘important c‘est d‘aimer / 197

FILMSTILLS WAYS OF ESCAPE / JAN FRIESE/ 20
COMMODITY FETISHISM




WAYS OF ESCAPE / Romy
COMMODITY FETISHISM

HD 4min.51 sec.| 2012
Kamera: Olaf Val


Text: Babara Vinken and Annie Goodner


COMMODITY FETISHISM hovers between the realms of fashion and performance, critique and joke.
Catrine Val transforms herself again and again through the assistance of often cobbled-together,
yet thrilling, disguises.
Construction is at the forefront of this Video.
The palpable elements of dress, props and backdrops are dazzling to the eye, but out of reach.


FILMSTILLCOMMODITY FETISHISM


The backdrops also follow a role and repertoire and act as a stage setting. Place is not important if it does not emphasize and accentuate the image of the subject. The anonymous environments, thus take on a similarly interchangeable quality function as an intersection for reality and fantasy.
In COMMODITY FETISHISM, Catrine Val records situations whose very banality lends them the archetypical character of myths of the commonplace. The persons are composed with the same care as paintings and are just about always attractively framed, are the complete opposite of snapshot.

ewers become voyeurs and accomplices in a love triangle between the camera,photographer, and model.

FILMSTILLCOMMODITY FETISHISM

They bear the past within themselves—as something that has been survived, left behind, taken leave of.
These clothes do not bring the past alive or into the present. Rather, they conjure up the sense of the bygone.
For this reason, the person depicted seems utterly out of place, incongruous, inappropriate, shoehorned into absurd geometric correspondences.



FILMSTILL
COMMODITY FETISHISM


The clothes may be an allegory for this carefully "fitted" incongruous inappropriateness.

The figure in these selfportraits does not have a place anywhere; her time is not the present,
and the moment depicted is an impossibility.




FILMSTILLCOMMODITY FETISHISM





Stefan Bast

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