Freund, Peter.

*1960 in USA
lebt in in California, USA
Associate Professor of Art am Saint Mary´s College of California
Studium an der University at Buffalo.

 

Ausstellungen [Auswahl]:

2010 Sazmanab Gallery, Tehran, Iran
2008 Universidad de los Andes, Bogotá, Colombia
2007 Museo de Arte, Biblioteca Luis Ángel Arango, Bogotá, Colombia
2007 Do Gallery, St Petersburg, Russia

 

Camp

Date: 2010
Length: 07:00 min
Format: 4:3
Specification: Colour, Sound

 

Peter Freunds visuelle und literarische Collage kombiniert zwei konträre Bedeutungen des englischen Wortes „camp“. Ein „camp“ ist zum einen ein temporärer Aufenthaltsort für eine Gruppe von Menschen. Freund spitzt die Bedeutung zu, indem er Archivmaterial über KZ-Lager sowie Zitate einiger Philosophen, die die Grausamkeiten des Zweiten Weltkrieges kommentieren, benutzt. Die zweite Bedeutung des Wortes, das ästhetische Phänomen eines bewusst affektierten Verhaltens, taucht während des Video-Potpourris von Busby Berkeleys Film „The gang’s all here“ (1943) auf, das mit Zitaten von Oscar Wilde und Susan Sontag unterlegt ist. Den Inhalt dieser Zitate vermitteln drei Erzähler. Die erste Erzählerin fasst den Kern von Freunds intellektueller Erkundung in einer Frage zusammen: Wir wollen gegenüber den Nazi-Verbrechen nicht gleichgültig sein, aber wie ist es möglich, über eine Tragödie zu reden, die einem nicht selbst passiert ist? Unter diesem Aspekt ist die Inkongruenz von Freunds Collage nicht einfach nur als ein unerträglicher Missklang zwischen der Strenge des schwarz-weißen Materials aus Auschwitz und der überbordenden Farbigkeit der Tanzszenen in Berkeleys Film zu sehen. Vielleicht kann die zweite Bedeutung des Wortes „camp“ einen Ausweg bieten aus der Unmöglichkeit über Konzentrationslagererfahrungen adäquat sprechen zu können. Wenn man diese Erfahrungen als Melodram erzählen würde, könnte man dann durch Tränen und Lachen dieses kollektive Trauma besser verarbeiten? Oder geht das gar nicht?

OC

 

Interview:

► 1. Your video has been chosen among over 1700 festival entries to participate in Videonale 13. How central is the video medium to your overall artistic production? Is it complimentary to other media you use or do you work exclusively with video?


I’m interested in media as expressive means that already implicate an audience at the level of the unconscious. In general, I work with video, sound, text, and interactive media; sometimes altogether, sometimes in different combinations, sometimes separately. Video expresses time, incidentally presenting visual and audio components. As art, video can tackle those critical little love objects – the voice and gaze – that look at and speak to the viewer’s pleasure. In this way, the video medium has a special place for me.


► 2. Is there a particular theme, concept or problem your art addresses the most?

 

In video I’m usually doing a somewhat peculiar form of experimental research. I’m interested in how expressive means capture a subject about which I have some vague but nagging sense of urgency. These are situations where there seems to be no distance between form and meaning, where the explanatory power of an expression seems to completely overtake and dominate what it explains. Through formal tampering I’m interested to see if there’s a possibility of opening up a little space for ambiguity, contradiction, incomprehension, desire. The recurrent goal is to arrive experimentally at a form that hints at, embodies, problematizes the defining blind spot inside the expressive means.


► 3. What artists do you relate to or find significant for your own art-making?


Too many to name. But early on, the biggies were Jean-Luc Godard, Yvonne Rainer, John Heartfield, Thelonious Monk.


► 4. Do you think the video medium can address social or political issues better than other art media?


I’m not convinced the relationship between art and politics is that direct. Rather than asking if the video medium can address political issues, maybe it’s more apt to ask if and how video issues can address social or political media.


► 5. Art can be seen as a mirror that registers and reflects life or as a tool that transforms it. Which of the two positions is close to your own art-making philosophy?


Again, for me, the formulation of the question is better reconsidered. As it reflects, art transforms; and as it transforms, art reflects. The trouble is that life is already fundamentally mediated by art, by a constellation of aesthetics, by phantasmatic imperatives. The question is not if an art-making philosophy is reflective or transformative but how is it already both.


► 6. How do you understand success in an art-making career?


Having the opportunity to present art that allows for public dialogue in new areas, for testing and challenging the limits of the rote, for redirecting pleasure into desire, for meeting other people who want the same.


► 7. What is the most difficult and the most rewarding thing about making art / being an artist?


The most difficult thing is making a career out of art. The most rewarding thing is the process of making and discussing the work.


► 8. What are your upcoming projects?


“Vertigo” – a video piece on turns: inner ear problems, staircases, revolutions, the fibonacci curve, the four discourses of Jacques Lacan, kundalini etc.
“Instrumental Reason” – an interactive digital installation.


► 9. What do you do when you don't make art?


I teach art and critical theory. 

Kalender

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