Click to se
e the video:
mportanc‘est d‘aimer” (1975) by Andrzej Zulaws
FILMSTILLCOMMODITY FETISHISM i
mstill: L‘important c‘est d‘aimer / 197
FILMSTILL WAYS OF ESCAPE / 2010ilmstill: L‘important c‘est d‘aimer / 197
FILMSTILLS WAYS OF ESCAPE / JAN FRIESE/ 20COMMODITY FETISHISM
WAYS OF ESCAPE / Romy
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.
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.
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.
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.
Flaut Michael Rauch