{"id":1376,"date":"2019-05-10T22:27:55","date_gmt":"2019-05-10T22:27:55","guid":{"rendered":"http:\/\/goodspace.villa-merkel.de\/?p=1376"},"modified":"2019-06-18T14:26:08","modified_gmt":"2019-06-18T14:26:08","slug":"melanie-gilligan","status":"publish","type":"post","link":"https:\/\/goodspace.villa-merkel.de\/?p=1376","title":{"rendered":"MELANIE GILLIGAN"},"content":{"rendered":"

\"C0080195-159E-4C16-994A-F2F083B3A710\"<\/em><\/p>\n

Parts-wholes<\/em>, 2016
\nHD Digital Videos, je 1\u2018 00\u2018\u2018<\/p>\n

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Please scroll down for english version.<\/strong><\/p>\n

Melanie Gilligan, K\u00fcnstlerin in den Bereichen Video, Performance, Installation und Musik, ver\u00f6ffentlicht auch regelm\u00e4\u00dfig Beitr\u00e4ge in Fachzeitschriften wie Artforum oder Texte zur Kunst. Das kritische Hinterfragen und Schreiben ist essenzieller Bestandteil auch ihrer k\u00fcnstlerischen Arbeit, in der sie auf wissenschaftlicher Basis sozialpolitische Themen traktiert, wobei vor allem die systemischen Beziehungen von Arbeit, Wirtschaft und Politik sowie die Rolle des Individuums in diesem Beziehungsgeflecht ins Visier genommen werden. Bekannt geworden ist sie insbesondere mit ihren gro\u00dfformatigen Videoarbeiten, die in Form von Dramaserien in fiktionalen Zukunftswelten spielen.<\/p>\n

Mit Parts-wholes<\/em> wird eine neue Werkreihe \u201eanimierter\u201c Skulpturen initiiert. Zwei durch eine R\u00f6hrenstruktur verbundene und mit Bildschirmen best\u00fcckte W\u00fcrfel f\u00fchren Videos und Animationen vor. Die Bildschirmsequenzen beleuchten fragmentarisch die jeweiligen Arbeitsalltage von Individuen, die sich, im Ganzen gesehen, zu einem gr\u00f6\u00dferen \u00f6konomischen Zusammenhang f\u00fcgen. Die R\u00f6hrenstruktur kn\u00fcpft ein \u00fcbergeordnetes Netzwerk, das die beiden W\u00fcrfel sowohl formal als auch inhaltlich verbindet. Zwischen den Betten, die die Reinigungskraft tags\u00fcber macht, und dem Bett, in dem sie nachts schl\u00e4ft, besteht genauso eine Verbindung wie zwischen ihrer Lohnarbeit und ihrer h\u00e4uslichen Umgebung, ihrem Arbeitsalltag und ihrem Privatleben. Das Individuum ist immer auch Teil eines Systems, das seine Erfahrungen und Erwartungen pr\u00e4formiert. Parts-wholes<\/em> fordert uns auf, diesen allgegenw\u00e4rtigen Relationen auch in unseren Leben kritisch nachzusp\u00fcren.<\/p>\n

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Melanie Gilligan works with the media of video, performance, installation and music. She contributes <\/em>regularly to publications such as <\/em>Artforum or <\/em>Texte zur Kunst \u2014 critical questioning and writing is a fundamental component of her artistic work as well. <\/em>In her scientific investigations of socio-political <\/em>issues, she examines the systemic relationships between work, the economy and politics as well as <\/em>the role of the individual in this interrelated net-work. She became known through her large-format\u00a0 <\/em>video works, which take place in fictional, futuristic <\/em>worlds in the form of drama series.<\/em><\/p>\n

Parts-wholes inaugurates a new succession of works consisting of \u2018animated\u2019 sculptures. Two cubes linked by a tubular structure and outfitted <\/em>with screens show videos and animation. The screen sequences illuminate in fragmentary form <\/em>the everyday working life of various individuals which, viewed in its totality, conjoins into an extensive economic nexus. The tubular structure forms <\/em>a superordinate network which links the two cubes with regard to both form and content. There <\/em>exists just as much a connection between the beds that a cleaning lady makes during the day and the one she sleeps in at night as between her domestic surroundings, her workplace and her private daily life. The individual is always also part of a system which has a formative influence <\/em>on his or her experiences. <\/em>Parts-wholes urges us<\/em>
\nto examine these interconnections in our lives from a critical perspective.<\/em><\/p>\n

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