VICTOR BURGIN
FIVE PIECES FOR PROJECTION
Edited by Eva Schmidt
Essay by Hanne Loreck and afterword by Eva Schmidt
Sternberg Press, May 2014
How can the suggestive power of images be activated? What effect is generated by the conjunction of images and text? How do the images of our own memory interrelate with images from cinema or art history?
Victor Burgin’s Five Pieces for Projection introduces recent projection work from 2010 to 2014, and coincides with the artist and writer’s retrospective exhibition “Forms of Telling” at the Museum für Gegenwartskunst Siegen. Each of the five projections presented in the catalogue is accompanied by a text by Burgin that discusses how the work emerges from a personal experience, a preoccupation with a building, a place, or a Romantic painting.
Like a visual diary, a fictional narrative, or historical document, Burgin’s projection work takes us on a journey to different places and situations. This publication too reads like a film or a moving storyline where real and imaginary images are activated and interwined through the use of photographs, paintings, and brief textual recollections. Hanne Loreck’s detailed essay discusses some of Burgin’s digital image projections, such as Dovedale (2010) and Mirror Lake (2013), considering the visual-textual effect of Burgin’s work and the atmospheres created that trigger numerous associations in the viewer—of a book, a film, or a personal memory.
This catalogue is published on the occasion of exhibition “Victor Burgin: Forms of Telling,” at the Museum für Gegenwartskunst Siegen, Germany, March 23–June 15, 2014.
FIVE PIECES FOR PROJECTION
Edited by Eva Schmidt
Essay by Hanne Loreck and afterword by Eva Schmidt
Sternberg Press, May 2014
How can the suggestive power of images be activated? What effect is generated by the conjunction of images and text? How do the images of our own memory interrelate with images from cinema or art history?
Victor Burgin’s Five Pieces for Projection introduces recent projection work from 2010 to 2014, and coincides with the artist and writer’s retrospective exhibition “Forms of Telling” at the Museum für Gegenwartskunst Siegen. Each of the five projections presented in the catalogue is accompanied by a text by Burgin that discusses how the work emerges from a personal experience, a preoccupation with a building, a place, or a Romantic painting.
Like a visual diary, a fictional narrative, or historical document, Burgin’s projection work takes us on a journey to different places and situations. This publication too reads like a film or a moving storyline where real and imaginary images are activated and interwined through the use of photographs, paintings, and brief textual recollections. Hanne Loreck’s detailed essay discusses some of Burgin’s digital image projections, such as Dovedale (2010) and Mirror Lake (2013), considering the visual-textual effect of Burgin’s work and the atmospheres created that trigger numerous associations in the viewer—of a book, a film, or a personal memory.
This catalogue is published on the occasion of exhibition “Victor Burgin: Forms of Telling,” at the Museum für Gegenwartskunst Siegen, Germany, March 23–June 15, 2014.
