A
medienwerkstatt9
B
medienwerkstatt8
C
medienwerkstatt7
D
medienwerkstatt6
E
medienwerkstatt5
F
medienwerkstatt3
G
medienwerkstatt2
H
medienwerkstatt1
I
sj_double14
J
sj_double12
K
sj_double11
L
sj_double10
M
sj_double9
N
sj_double8
O
sj_double7
P
sj_double6
Q
sj_double5
R
SJ_double4
S
SJ_double3
T
SJ_double2
U
SJ_double1
V
Medienwerkstatt10
W
Easy Share detail 2013
X
Learning About Heraldry, 2013
Y
Notis Otis, 2013
Z
Stewie Draws a Picture, 2013
[
Easy Share, 2013

Sophie Jung + Shana Moulton, DOUBLE (2014) exhibition photos

, 6 January 2015

Think too hard and you’ll miss the point of DOUBLE. Or maybe it’s not a point per se but an experience of wonder that its artists’ work tends toward. Showing in a joint exhibition at Vienna’s Medienwerkstatt from November 20 to December 8, the collection of works by US video and performance artist Shana Moulton and Luxembourgian media-performance artist Sophie Jung share a near-naïve aesthetic that presents across two films by Moulton (one, ‘Swisspering (2013) projected on a wall and another, part of the Whispering Pines series, screened from a CRT TV on a rack beneath) and objects plus a performance by Jung, as part of the third programme of “Carte Blanche for Young Media Artists” award winners Markus Hanakam and Roswitha Schuller.

DOUBLE (2014) @ Medienwerkstatt Wien exhibition photos. Courtesy the artists.
DOUBLE (2014) @ Medienwerkstatt Wien exhibition photos. Courtesy the artists.

The images of DOUBLE present a similar sense of the fantastical as the literature and language of Jung’s ‘Learning About Heraldry’ (2014) performance is steeped in apparent nonsense and non-sequiturs. The text is like some sort of mirror of a web page scrolled and absorbed – without being quite absorbed – in its references to Pusheen the Cat, Ancient Egypt and social media (What do Ancient Egypt and facebook have in common? They write on walls and worship cats!”), as well as Jennifer Lopez, online yoga sites and Jung’s own debatable descent from famous “pop-psychologist” Carl. Similarly, the gallery floor is littered with luridly coloured, hermetic readymades – brass piping, several iPod Shuffles and a flaccid pink and purple ball lying limply on its see-through plastic steeple – that become even more isolated and unmoving when presented as art.

Playing with the idea of a double ‘channel’ installation – as in two people working across technology, and two people working across spirituality – Moulton’s ‘Swisspering’ cotton pads rub the artist’s alter-ego ‘Cynthia’s’ face away into raw clay to end up an inanimate vase while looking into a mirror. Jung’s Hindu Shiva “came quickly (not across anything as he’s sacred and has manners) and drank it which turned his throat blue and the ocean was saved” in ‘Learning About Heraldry’ while it gives the sense that the artist’s protagonist is caught in the same self-referencing loop of a sea creature that reproduces by ‘selfing’. As a nonsense map of dissociations, viewed through a fog of dead ends and misunderstandings, DOUBLE presents the futility of form and format in a complicated web of contentlessness as Jung’s complicit character announces, “I felt the transition from icon to index. WITH my index. How funny.” **

Exhibition photos, top right.

Shana Moulton and Sophie Jung’s ‘DOUBLE’ ran at Medienwerkstatt Wien, Nov 20 – Dec 8, 2014.

Header image:

The New Abnormal: Information warfare & our volatile political present in Don Edler’s Two Minutes to Midnight solo exhibition

11 November 2019

Ntu shares a reimaging of the racial imaginary & (Black) subjectivity in the premiere of short film ‘(OOO)’ preceding ‘warp’ EP Perfect Blue

Thursday

Sweetie darling baby: Steven Warwick marks a return with the wicked social observations of his beat-driven lyrics on MOI

aqnb, Thursday

“It’s coal my dear”. Fear & fantasy in an imagined underground mine with a group show curated by Proto Gallery Systems

4 November 2019

Mathis Altmann on the art & fashion overlaps of his show in the intimate artist-run space of From The Desk of Lucy Bull

Mark Pieterson, 31 October 2019

Dasychira & Baby Blue share a glimmer of tenderness inside the void through the delicate trance of ‘Let’s Share Your Memory Together’

28 October 2019

A poetic portrait of outcasts in an American pop cultural wasteland with the video installation work of Max Göran

28 October 2019

Casey MQ soars into a new identity in the midst of a fantasy open air rave in the trance-referencing ‘Wings Are Growing’

24 October 2019

Jonnine Standish debuts a mononymous solo project with a camp exercise in New Age Baroque on ‘Scorpio Rises Again’

23 October 2019

How to be human: Creamcake’s 3hd Festival launches the ‘Fluid Wor(l)ds’ program around storytelling by writing their own history

22 October 2019

Get Low (Real Deep): The underground networks of Vancouver’s New Forms Festival explored at their historical roots

Isabelle Harada and Matt Dell, 21 October 2019

Examining branding & capital through the poetry of the bootleg at the Night Market Vol. 1 group exhibition

21 October 2019

A look at online identity formation & social interaction with the [UNSUBSCRIBE] group show at Miami’s Supplement Projects

18 October 2019

Lachrin presents one of six less-than-happy endings in the off-key strings & thunderous drone of ‘I XVIII X I III’ from Críoch

aqnb, 18 October 2019

Bby Eco has the environment on the brain with this otherworldly sound of the Earth if it were synthesised into a soundtrack

aqnb, 17 October 2019