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\"title_translation\": \"<b>Propeller Tape<\/b>\",
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\"long_desc\": \"In his early work, vom Bruch undertakes a compelling inquiry into contemporary German identity in relation to history and collective memory. Here he exercises his signature formal strategy of switching rapidly between two tape sources, one recorded and one live, to achieve a powerful visual metaphor, collapsing the historical and the personal, the past and the present. The imagery is also a vom Bruch signature: A repetitive fragment of a World War II archival film of war machines is sharply interrupted with flash-frame images of the artist's face. Documentary film footage of ground personnel starting the propeller of an American B-17 bomber is repeated in a tightly edited, rhythmic structure. The obsessive repetition and fragmentation of the young heroes lifting the propellers renders their action an exercise in frustration. The tape's hypnotic tension is heightened by the unexpected insertions of the present — in the form of vom Bruch's face — into this representation of the mythic past.\",
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\"short_bio\": \"German artist Klaus vom Bruch engages in a provocative analysis of personal and national identity in relation to cultural mythology and history. Vom Bruch constructs rhythmic, repetitive confrontations between the self and collective memory, presented as a theater of appropriated media images — television advertising, Hollywood cinema, military archival films.\",
\"long_bio\": \"Klaus vom Bruch works in video and multi-media installation. His video works of the 1980s engage in a provocative analysis of identity in relation to Western cultural mythology and history. This often ironic discourse is presented as a direct confrontation between the self and the theater of collective memory, which vom Bruch posits as an archive of media images — television advertising, Hollywood cinema, World War II archival films. Subjectivity is located in a violent confluence of the spectacles of war, technology, and capital.\r\n \r\nAggressively deconstructing representations of the military and mass media apparatuses, vom Bruch's videotapes take the form of propulsive, nonverbal collages. Relentless in their obsession and repetition, his signature visual systems exploit both the one-on-one directness of video and its relation to the mass media apparatus. In an exacting fusion of structure and content, his formal strategy is to use rapid-fire video switching to alternate repetitively between two visual sources — one appropriated, one a \\"live\\" self-image — so that they are seen simultaneously as composite texts. Rhythmically inserting flash-frames of his face into tightly edited, stutter- step fragments of archival films, cinema or advertising, he constructs associative, metaphorical meaning. Reductive, hypnotic soundtracks heighten the tension as self-portraits interrupt repeated images of war and mass media technologies.\r\n\r\nVom Bruch's early works are compelling inquiries into postwar German identity. The mythic past collides with the media present as the artist is seen in collusion with World War II bomber pilots, wartime destruction, and TV advertising. Collapsing the personal and the historical, conflating subjectivity and history, desire and the cinematic apparatus, or the body and communications technologies, vom Bruch's potent analytical systems expand on the theories of Paul Virilio. \r\n\r\nProducing tapes, installations and performances since the mid-1970s, vom Bruch has focused in recent years on mixed media installations that analyze the public and private spheres of communications technologies, including radar and satellites.\r\n\r\n Klaus vom Bruch was born in 1952. He studied with John Baldessari at the California Institute of the Arts from 1975-76, after which he studied philosophy at the University of Cologne. His works have received numerous awards and are in the permanent collections of institutions including Kunsthaus, Zurich; De Appel, Amsterdam; Stedelijk Museum, Amsterdam; The Museum of Modern Art, New York; and Musee d'Art Contemporain, Montreal. Vom Bruch's videotapes and installations have been widely exhibited internationally, in group shows at institutions including Kolnischer Kunstverein, Cologne; Kunsthaus, Zurich; The New Museum of Contemporary Art, New York; The Museum of Modern Art, New York; Stadtisches Kunstmuseum, Bonn; Stedelijk Museum, Amsterdam; Long Beach Museum of Art, California; Documenta 8, Kassel, West Germany; DuMont Kunsthalle, Cologne; Tate Gallery, London; and Musee d'Art Contemporain, Montreal. He has also had solo exhibitions at institutions including the Stadtisches Museum Abteiberg, Monchengladbach, Germany; Moderna Museet, Stockholm; and Malmo Konsthall, Sweden. Vom Bruch lives in Cologne, Germany.\",
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Screening Lists and Schedules
Feb 26, 2002
Screening list for retrospective of early video works from the EAI Archives presented by MoMA in February 2002.
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