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Sherman | Prints & Multiples / Shaun Gladwell (born 1972) Yokohama Untitled, 2005 (each print)

拍賣品7
Shaun Gladwell
(born 1972)
Yokohama Untitled, 2005 (each print)
2022 年 5 月 26 至 6 月 3 日 14:00 AEST
悉尼

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Shaun Gladwell (born 1972)

Yokohama Untitled, 2005
dedicated by the artist verso: 'Dear Gene, A small gift for your wonderful support. SG'
signed and dated below upper image: 'S Gladwell 05'
two type C prints, diptych
10.0 x 14.0cm (3 15/16 x 5 1/2in).
(each print)

Footnotes

PROVENANCE
The Gene & Brian Sherman Collection, Sydney

RELATED WORK
Yokohama Untitled, 2005, single-channel digital video, colour, sound, 19:22 minutes, in the collections of the Museum of Contemporary Art, Sydney, and the Art Gallery of New South Wales, Sydney


'The opening sequence of Yokohama Untitled is of a train pulling into a Yokohama subway platform. Walking in slow motion with his back to the camera, a young man steps onto the crowded carriage and drops into a breakdance routine on the floor. Standing up and walking a few paces down the train's central walkway, he repeats his performance for the length of the carriage, watched or ignored by the captive commuter audience who sit facing this impromptu public stage. Three similar breakdancing performances comprise Yokohama Untitled, all shot in busy public spaces in Japan. Each sequence represents a challenge of some kind: to disrupt the orderly conduct of everyday life and to disturb the spaces – especially confined and policed ones like train carriages and shopping malls – in which it is lived.

One is filmed in a pedestrian plaza at night, where neon lights, backlit menu-boards and strolling passers-by provide the backdrop to the b-boy's intermittent routines. No sound, other than the muted scrape of shoes on pavement and the dancer's laboured breath as he spins and arcs, disturbs the mood of quiet ordinariness that pervades this street. The dancer's exuberant outbursts of energy create no disturbance other than a barely registered ripple of surprise shared by a few passing pedestrians. Another sequence is filmed inside, in a glossy, brightly lit department store. Treating its concourse as an urban street, the dancer moves through his acrobatic routines to a mute audience of mannequins, his disruptive presence ignored by the few browsing shoppers. The unusual display of elegant and graceful movement in these unexpected forums mark moments of individual expression within a mass culture of consumption and conformity. Shadowing them as they move through their urban world, Gladwell transposes the art of the b-boys from the street to the gallery, aligning their physical interpretations of movement and space with his own visual and acoustic effects to register moments of the extraordinary within the everyday.'

其他資訊