Lene Berg / Leandro Erlich
20 Aug - 28 Sep 2008
LENE BERG / LEANDRO ERLICH
Art in the Auditorium
The films of Lene Berg often form part of wider projects, which include text, collage, photography and installation. She is interested in exploring the tension between fiction and reality and public and private appearance, the personal histories constructed by individuals set against an ‘official’ public history.
The Man in the Background, premiered in the UK at the Whitechapel, consists of found home-movie images repeated with different narratives that gradually reveal a complex double life shaped by Cold War cultural politics. Leandro Erlich also examines the illusory nature of appearance but concentrates on perception rather.
Described as a ‘master of deception’, his work often contains an element of performance, whether choreographed as in El Ballet Studio, 2003 or based on audience interaction in Le Cabinet du Psychanalyste, 2005. Selected for the Whitechapel, these two works playfully question the ambiguity of given and accepted realities utilising Erlich’s ongoing interest in mirroring and duplication.
From May–November 2008 the Whitechapel’s Art in the Auditorium programme in partnership with museums in China, Europe, Latin American and North America, brings together emerging international film and video artists.
Art in the Auditorium
The films of Lene Berg often form part of wider projects, which include text, collage, photography and installation. She is interested in exploring the tension between fiction and reality and public and private appearance, the personal histories constructed by individuals set against an ‘official’ public history.
The Man in the Background, premiered in the UK at the Whitechapel, consists of found home-movie images repeated with different narratives that gradually reveal a complex double life shaped by Cold War cultural politics. Leandro Erlich also examines the illusory nature of appearance but concentrates on perception rather.
Described as a ‘master of deception’, his work often contains an element of performance, whether choreographed as in El Ballet Studio, 2003 or based on audience interaction in Le Cabinet du Psychanalyste, 2005. Selected for the Whitechapel, these two works playfully question the ambiguity of given and accepted realities utilising Erlich’s ongoing interest in mirroring and duplication.
From May–November 2008 the Whitechapel’s Art in the Auditorium programme in partnership with museums in China, Europe, Latin American and North America, brings together emerging international film and video artists.