IN MY NAME
double video projection   
Einladungskarte
Videostill, der Chor
Ausstellungsansicht
Ausstellungsansicht
Ausstellungsansicht
Videostill,die Rede
Videostill,die Rede
Videostill,die Rede
Videostill,die Rede
Videostill,die Rede
Ausstellungsansicht
Videostill,die Rede
Plakat
Mitwirkende, Chor
Legende
Video 1: Chorus           Video 2: four speeches
HDV / PAL / colour / stereo sound
german with english sur-/ subtitles
13:27 min., loop
2013


With in my name, the work she conceived and realized for her exhibition at the Secession, Bajtala addresses the theme of the speech and associated questions of representation. In this work, she questions her role as an artist by juxtaposing her self-perception with the views of four cultural producers. She commissioned a woman artist, two curators (one man, one woman) and a woman writer to write a speech in her name, speaking on her behalf about her work. In the video four speeches (vier Reden), the artist portrays herself at the same time as representing her four authorized representatives in their various roles. Against a neutral black background, the artist is seen four times in close-up, sometimes speaking directly into the camera, sometimes as a voice-off or a whisper.
Bajtala’s own speech, written in response to the four commissioned speeches, was staged last year in an entirely different way: here, she had herself represented by a chorus, a group of people who responded to her call to participate in an art action by reciting a text together. The video Chorus shows the group entering the Secession’s Hauptraum—the size of the group called for a large space—taking up positions and then reciting Bajtala’s speech. Logically enough, the speech begins with the words: “I would like to be loud.” Surtitles help the audience to follow the text—as in the case of (foreign language) operas.
In the installation, the video works Chorus and four speeces are projected on facing walls, screened alternately. The changes of perspective—from close-up in four speeces to the long shot in Chorus—is also to be understood in spatial terms. The Hauptraum, a space many times larger, is literally projected into the Grafische Kabinett that has been transformed into a black box. With this spatial merging, Bajtala raises the question of the specific characteristics and representational character of the space: the sublime quality of the white cube is confronted with the intimacy of the Grafisches Kabinett.

 
Textstütze während des Drehs
Legende