An international subconscious awareness of capitalism
The written word or a formulated dialog is always the starting point. Producing filmed discourse, she shows the effect that material and immaterial economies have on all of us. Through her technique of talking directly to the camera while walking in crowded city centres or while performing in abandoned suburban areas, she is addressing the viewer upfront, and her audience is compelled to enter a work that demands a response.
Voices of desire that interweave post-colonialism, aesthetics, money and finance, politics, psychology and sexuality create what one could call an international subconscious awareness of capitalism. The languages spoken in her videos stem from Swedish, English and French to Hebrew and Spanish. And what this international stream of words and images binds together is not only the alienation of the contemporary individual in his or her desperate search for sense, but also that in our helpless search for meaning, we know and reveal in our action and behaviour much more than we are willing to admit.
There is a kind of concrete knowledge that all her characters embody. In the video works on show in A plus A Gallery like Polis-Polis (2018), swedish police officers are talking about their uniforms, about their sexuality, religion and work. And in L’Obstruction (2018) that presents itself as an educational speech in public spaces, the actor encounters great difficulty addressing even a single person while performing a blocked educational speech in french with exhausting effects on his body. Also on show will be a new film about the south american customs officer Aduaneras and new drawings by the artist prepared for this exhibition.
Cornerstone of the exhibition in A plus A Gallery in Venice will be the artist’s newest video Le Goubernement. Six episodes about the destiny and work of women, lesbian, queer, trans and non-binary artists who lived in Paris from 1910 – 1980. The episodes traverse and overlay over 70 years of his¬tory and reveal the stories and fates of artists that were erased from the great twentieth century modernist narrative.
As often in her work, Liv Schulman does not elaborate a linear, rational, logical story — rather, the artist proposes a collective construction of the characters that is the result of the process of practice, during the shooting. Through a fictional historical revision, Le Goubernement under¬mines the official narratives of the triumphalist histories.