Culture|Fine art review
Frenchman Michel Auder ended up in the avant-garde districts of New York in the late 1960s. His video works look like super celebrities up close.
Michel Auder & Outi Martikainen 14.3. until Taidehalli In Section (Työpajankatu 2 B, building 7). Open Tue – Fri 12–18, Sat – Sun 12–16.
Art Hall It is typical of the exhibitions in this section that they form a kind of follow-up story. A new exhibition often continues in one way or another from where the previous one left off.
Michel Auderin (b. 1944) and Outi Martikainen (b. 1962) exhibition, the follow-up narrative is obvious.
Late last year Charlie Morrow’n A Gathering The walls painted bright red for the exhibition featured dozens of gig posters promoting New York’s experimental music field.
The color red has been left behind in the Martikainen rugs currently on display.
In addition, there is a viewing point in each corner of the exhibition space where you can immerse yourself in Michel Auder’s experimental films. Like Morrow’s posters, the films document New York’s avant-garde field from the 1960s onwards. This time, however, the focus is on the visual arts world and its superstars, such as Andy Warholin related parties.
French-oriented Michel Auder’s background is in photography. In fact, however, he has become known for the experimental films he shot in New York.
Auder’s works may record a character in an endless flood of speech or follow the pastimes of Warhol and his friends for hours on end. Auder ended up in New York social circles after marrying what appeared in Warhol’s films Vivan with.
Watching the life of the Warhol party feels at first strange to someone accustomed to the media climate of the 21st century. In today’s culture, even superstars are already in their own way everyday, as stars open the doors of their homes to cameras and communicate directly with fans on a variety of social media platforms.
In the mundane star, however, there is an interesting contradiction in Auder’s films: they bring their once-distant fans to their very close view.
Warhol was, like many of his contemporaries, interested in breaking the relationship between the audience and the work. He became known for the so – called interior design film (in English furniture from film, which may also be translated into Finnish as, for example, wallpaper film). The idea of the interior film was to create a background for the audience’s stay, against which life itself is more important than the film.
Warhol’s film, which lasts more than five hours, for example Sleep (1964) was not even intended to be watched closely. You could walk around it at any time. It provided an audiovisual background for meeting friends, celebrating, eating, drinking – everything possible!
Auder’s films are home video-like in an interior cinematic way. They can also be viewed distracted from one viewing point to another by hiking and surfing from one atmosphere to another. In the films, Warhol’s close circle marvels at the famous Chelsea Hotel’s newborn child of Auder and Viva, sometimes John Lennonin and Yoko Onon at home parties or at the opening of the “Andy” exhibition at the Whitney Museum.
The closest idea to an interior design film comes from Auder’s classic Voyage to the Center of the Phone Lines (1993), a karaoke video-like compilation of conversations heard over telephone wires. In the background of the dialogue snippets you can see kitsch-like beautiful landscape images, while the subtitles of the dialogs run on the screen.
The experimental interior film fits insightfully with Martikainen’s fantastic rugs.
Martikainen has woven home-made materials into the rugs with a 3D effect. Rugs can be viewed through special glasses, leaving the surface of the textile with colors and pulsating with marvelous light.