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Aline Bouvy & John Gillis [Videonale.12]

ALINE BOUVY *1974 in Luxembourg, lives in Brussels BEL
Studied at Jan van Eyck Academie, Maastricht NED and Ecole de Recherche Graphique, Brussels BEL


JOHN GILLIS *1972 in Belgium, lives in Brussels BEL
Studied at Jan van Eyck Academie, Maastricht NED and Ecole de Recherche Graphique, Brussels BEL 

 

Exhibitions [selection]:

 

2012 THERE IS NOT AND NEVER HAS BEEN ANYTHING TO UNDERSTAND!, ASC Gallery, London, GBR
         Prince at the Forum, Beacon Arts Building, Los Angeles USA

2011 Sharp Dull, Nosbaum & Reding, Luxembourg, LUX [S]

         TALE - The After Lucy Experiment, Etablissement d'en face projects, Brussels, BEL 

2010 Venusia, EMAF ArtBox, Osnabrück GER [S]

         Heat in coupling, La Chaussette, Brussels, BEL [S]

2009 Peripatetics, vagabonds and other shapes, Le Temple, Paris, FRA [S]

         Mercury Retrograde: Animated Realities, Bay 12 Gallery, Austin, Texas, USA

2008 Decoder, Contemporary Art Center [CAC] Vilnius LTU

         Publish and be damned, Goethe Institute, New York USA

 

http://www.bouvygillis.net/

 

Aline Bouvy & John Gillis [Videonale.12] x

"Venusia", 2007, 8:00, sound, colour [Videonale.12]

Lured by a pearl necklace, like a fish by bait, a woman bites into it. Seduced by the desire for splendor and the Venusian promise of beauty, she incorporates the pearls, hides herself behind polished fingernails, and appears in the nude, yet masked, like Fritz Lang’s robot woman.In their work Venusia, the artist duo Aline Bouvy and John Gillis create a collage out of clippings from fashion magazines against a black background and set them in motion. In this way, the artists create an animated collage suggestive of Surrealism whose trashy high-gloss aesthetics are enhanced by a monotonous soundtrack consisting of synthesized Baroque rhythm and blues.Based on the woman’s empty gaze, eyes time and again emerge as a motif in the cosmos created by Bouvy and Gillis. They orbit and observe the different transformations in the sequences of images. It is as if they were filling the woman’s open “vessels” with information from the social environment, which becomes a continuum comprised of islands of love, jewelry, and accessories.In a rapid sequence of cuts in the last take, hundreds of faces from fashion magazines pass through a mask and bring the empty shell of the mechanical doll to life. They deconstruct the illusion of a society made up of individuals and expose it as a projection surface for a fetishized beauty cult.

Jakob Pürling 

Aline Bouvy & John Gillis