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Shelly Silver [Videonale.4, 5, 10]

*1957, in New York USA, lives and works in New York USA
Studied at Whitney Museum of American Art (Independent Study Program), New York USA and at Cornell University, New York USA

Auszeichnungen [Auswahl]

Exhibitions [selection]:

2012 ΕΜST at the Roof Train, National Museum of Contemporary Art, Athen GRE
2011 Here, his 這裡, 他的, Argos, Brüssel NED [S]
  In spite of me, Skive Ny Kunstmuseum, Skive DEN Entertainment, The Greene Naftali Gallery, New York USA
  Former East/Former West, Exile, Berlin GER [S]
  Shelly Silver. 37 Stories About Leaving Home, Argos, Brüssel NED [S]
  BACKSTOP, Galerie oqbo \\ Raum für Bild Wort Ton \\ , Berlin GER
2007 12è Biennale de l’Image en Mouvement, Genf SUI

Filmografie [Auswahl]

2013 TOUCH
2009 5 Lessons and 9 Questions About Chinatown
2008 in complete world
2004 What I'm Looking For
 

Shelly Silver x

We, 1990, 4:00 Min., b&w and color, sound [Videonale.4]

Even as the text instructs us otherwise, it is impossible not to read We's two images - that is, to respond to their symbolic quality, their suggestiveness. In a stream of associations, the rhythmic flow of people on the left becomes an ejaculation while the rhythmic hand on the right marks detachment, self-centeredness. Simultaneously, we may say to ourselves, "Yes, it is only a crowd of anonymous people. It is only a penis." But even as we attempt to discipline our interpretative urges, the hermeneutic created by this simple juxtaposition is driving us crazy with questions: Who is he? Why is he alone? Does he have a lover...? Does everyone in this crowd masturbate? Do they seek isolation from the mass? Are they aware of one another? Are they relational in less-populated situations? Why was this private image made public? Why is this image private...? 

Chris Straayer, Deviant Eyes, Deviant Bodies, Sexual Orientation in Film and Video, Columbia University Press, 1996

 

Shelly Silver [Videonale.5] x

The Houses that are left, 1991, 52:00 Min., b&w and colour, sound [Videonale.5]

Silver is one of the foremost figures in a younger generation of American videomakers coming to prominence with a series of works which combine visual and formal experimentation with a provocative narrative punch. The Houses That Are Left rates as her most ambitious project to date, and also presents one of the most intriguing independent tapes to come out of the United States in the last few years. Structured as a sort of post-modern mystery story (that encompasses everything from murder to market research, from sexuality to the supernatural), it constructs a shifting narrative framework in which not only its characters but also the viewer is constantly having to sift out what is fiction from what is truth...to finally arrive at its powerful and perceptive dissection of modern America: anxious, narcissistic, consumed by media images. 

Steven Bode, London Film Festival

 

Shelly Silver [Videonale.10] x

What I'm looking For, 2004, 15:00 Min., colour, sound [Videonale.10]

Desire, time and control are the three thematic areas which Shelly Silver names as the background for her work What I'm Looking For. For the artist, all three themes crystallize in the instant and action of taking a photograph. Accordingly, What I'm Looking For investigates the desire of both the photographer and the person being photographed; it presents the photograph as the preservation of time as well as the manifestation of its transitoriness; and it interrogates the interplay between control and dependence before and behind the camera. In accordance with these three principal themes, there are also changes in the visual and verbal answers the artist gives to the title of her work. And finally, What I'm Looking For is also the description of a section which Silver has to fill out in a contact forum on the Internet, which she uses to find people willing to have their photograph taken. She responds as follows: “I am looking for people who would like to be photographed in public revealing some part of themselves (physical or otherwise).” This invitation to physical or psychological exhibitionism does not ultimately emphasize Silver?s search for something missing, but instead supports her supposition of something unavoidably missing, something which cannot be shown. 

Dorothée Brill

Shelly Silver [ Videonale.4, 5, 10 ]