© Videonale e.V.

The development of the VideonaleOnlineArchive was supported by

Contact us

Videonale e.V. Phone +49 (0)228 69 28 18
im Kunstmuseum Bonn info@videonale.org
Friedrich-Ebert-Allee 2  
53113 Bonn  

Shimon Attie

*1957 in Los Angeles USA, lives and works in New York USA
Studied at University of California, Berkeley USA, at San Francisco State University USA and at Antioch University USA

Exhibitions [selection]:

 

2016 National Museum of Wales, Cardiff GBR [S]
2014 Facts on the Ground, series of site-specific media installations at approximately 30 various locations in
        Israel. Commissioned by Artport Tel Aviv ISR
2013 Wexner Center for the Arts, Columbus, Ohio USA [S]
2012 Jack Shainman Gallery, New York USA [S]
        Urban Video Project, Syracuse, New York USA Block Museum of Art, Northwestern University, Illinois
        USA [S]
2011 MetroPAL.IS., The Aldrich Contemporary Art Museum, Ridgefield USA
2008 Sightings: The Ecology of an Art Museum, De Young Museum/Fine Arts Museum of San Francisco, San
        Francisco USA
2008 The Attraction of Onlookers, National Museum of Wales, Cardiff GBR New Video Installations. -,Jack
        Shainman Gallery, New York USA

 

shimonattie.net

 

Shimon Attie [Videonale.13] x

Racing Clocks Run Slow, 2008, 18 (7:26 - 10:32) min., stereo, colour [Videonale.13] [extract 7:26 - 10:32 min.]

A row of static figures is displayed before of the viewer's eyes. The figures are clad in various types of motor sports’ garb. In a tableau vivant, they hold the characteristic poses of the race circuit: a racing driver jubilantly raising up his winner’s bottle of champagne, the race starter lifting up his checkered flag and the pit crew mechanics holding their tools. Shimon Attie films seventy individuals who once were involved with the legendary American Bridgehampton Race Circuit, which closed in 1994. These are not actors: they are actual participants and spectators from the circuit, wearing their authentic race clothing and gear. Attie also uses snippets of original audio recordings made at the circuit during the 1970s. Yet the authenticity of the outfits and the plausibility of the gestures produce an effect far removed from a typical documentary. The total immobility of the figures, frozen in the poses most typical of their roles, transforms them into a set of miniature toy figures, inhabitants of a Lego world. In a similar manner to the way that children create imaginary social environments, adults continue the process of construction of social identities. It is simply the scale of the adults' toys, rather than their essence, that differentiates them from children.

Olena Chervonik

Shimon Attie