Hannah Black
Dede, Eberhard, Phantom
07 Dec 2019 - 16 Feb 2020
Hannah Black, Clemens, Installation View at Kunstverein Braunschweig, Courtesy Hannah Black and Isabella Bortolozzi, Berlin, Photo: Stefan Stark
Hannah Black, Clemens (Detail), 2019, Installation View at Kunstverein Braunschweig, Courtesy Hannah Black and Isabella Bortolozzi, Berlin, Photo: Stefan Stark
Hannah Black, Moviola 1, 2019, Installation View at Kunstverein Braunschweig, Courtesy Hannah Black and Isabella Bortolozzi, Berlin, Photo: Stefan Stark
Hannah Black, Clemens and Ramey Raymond, 2019, Installation View at Kunstverein Braunschweig, Courtesy Hannah Black and Isabella Bortolozzi, Berlin, Photo: Stefan Stark
Hannah Black, Dede, Eberhard, Phantom, 2019, Installation View at Kunstverein Braunschweig, Courtesy Hannah Black and Isabella Bortolozzi, Berlin, Photo: Stefan Stark
Hannah Black, Clemens Ramey Raymond, 2019, Installation View at Kunstverein Braunschweig, Courtesy Hannah Black and Isabella Bortolozzi, Berlin, Photo: Stefan Stark
Hannah Black, Clemens Ramey Raymond, 2019, Installation View at Kunstverein Braunschweig, Courtesy Hannah Black and Isabella Bortolozzi, Berlin, Photo: Stefan Stark
Hannah Black, Dede, Eberhard, Phantom, 2019, Installation View at Kunstverein Braunschweig, Courtesy Hannah Black and Isabella Bortolozzi, Berlin, Photo: Stefan Stark
Hannah Black, Dede, Eberhard, Phantom, 2019, Installation View at Kunstverein Braunschweig, Courtesy Hannah Black and Isabella Bortolozzi, Berlin, Photo: Stefan Stark
Hannah Black, Raymond Ramey and Majestic Theatre, 2019, Installation View at Kunstverein Braunschweig, Courtesy Hannah Black and Isabella Bortolozzi, Berlin, Photo: Stefan Stark
HANNAH BLACK
Dede, Eberhard, Phantom
7 December 2019 – 16 February 2020
Curators: Jule Hillgärtner, Nele Kaczmarek
Hannah Black’s artistic work takes the form of performances, installations, film and video works. The exhibition Dede, Eberhard, Phantom was created following her invitation to Kunstverein Braunschweig. The video elements of the show consist of footage from three interviews at increasing degrees of remove from three subjects – two historical, one fictional – whose lives were, in different ways, dedicated to the organization of perception. The interviewees speak intimately about their encounters with the elusive figures referred to in the title. Videos and sculptural elements are installed throughout Villa Salve Hospe’s ground floor.
The structure of the video elements reflects the different professional and personal intensities of each figure. In the Dede part of the work, Ramey Ward, daughter of the Hollywood film editor Dede Allen, describes her mother’s life and career, as well as their relationship. This footage is treated as a means of editing – cutting, joining, and separating — an interview with Raymond Pinto, a performer in the Broadway production of The Phantom of the Opera and sometime understudy for the title role. Raymond Pinto speaks obliquely about the functional aspects of the performance and his role in it.
The Eberhard thread consists of footage of a phone conversation between Hannah Black and another artist, Clemens von Wedemeyer, on the subject of his 2014 exhibition at Kunstverein Braunschweig. This previous exhibition was based Clemens von Wedemeyer's research into the history of the building, which in the 1930s was a language research institute headed by Eberhard Zwirner, grandfather of the gallerist David Zwirner. Footage of the phone call is positioned as a framing device referring to the specific context of Kunstverein Braunschweig and the larger structure of art institutionality.
The sculptural elements of the show are based on simple wooden grids, intentionally broken by being dropped from a height. They are titled Moviola and Majestic Theater, referring to the respective structures that made possible Dede Allen’s and Raymond Pinto’s work.
Hannah Black (*1981 in Manchester, UK) lives in New York City. Recent solo projects include exhibitions at mumok, Vienna, Chisenhale Gallery, London (both 2017), Eden Eden, Bortolozzi, Berlin and Performance Space, New York (both 2019). Collaborative projects and performances have also taken place at the Center d'Art Contemporain Genève, MoMA PS1, ICA London, Chisenhale Gallery and the 9th Berlin Biennale.
Dede, Eberhard, Phantom
7 December 2019 – 16 February 2020
Curators: Jule Hillgärtner, Nele Kaczmarek
Hannah Black’s artistic work takes the form of performances, installations, film and video works. The exhibition Dede, Eberhard, Phantom was created following her invitation to Kunstverein Braunschweig. The video elements of the show consist of footage from three interviews at increasing degrees of remove from three subjects – two historical, one fictional – whose lives were, in different ways, dedicated to the organization of perception. The interviewees speak intimately about their encounters with the elusive figures referred to in the title. Videos and sculptural elements are installed throughout Villa Salve Hospe’s ground floor.
The structure of the video elements reflects the different professional and personal intensities of each figure. In the Dede part of the work, Ramey Ward, daughter of the Hollywood film editor Dede Allen, describes her mother’s life and career, as well as their relationship. This footage is treated as a means of editing – cutting, joining, and separating — an interview with Raymond Pinto, a performer in the Broadway production of The Phantom of the Opera and sometime understudy for the title role. Raymond Pinto speaks obliquely about the functional aspects of the performance and his role in it.
The Eberhard thread consists of footage of a phone conversation between Hannah Black and another artist, Clemens von Wedemeyer, on the subject of his 2014 exhibition at Kunstverein Braunschweig. This previous exhibition was based Clemens von Wedemeyer's research into the history of the building, which in the 1930s was a language research institute headed by Eberhard Zwirner, grandfather of the gallerist David Zwirner. Footage of the phone call is positioned as a framing device referring to the specific context of Kunstverein Braunschweig and the larger structure of art institutionality.
The sculptural elements of the show are based on simple wooden grids, intentionally broken by being dropped from a height. They are titled Moviola and Majestic Theater, referring to the respective structures that made possible Dede Allen’s and Raymond Pinto’s work.
Hannah Black (*1981 in Manchester, UK) lives in New York City. Recent solo projects include exhibitions at mumok, Vienna, Chisenhale Gallery, London (both 2017), Eden Eden, Bortolozzi, Berlin and Performance Space, New York (both 2019). Collaborative projects and performances have also taken place at the Center d'Art Contemporain Genève, MoMA PS1, ICA London, Chisenhale Gallery and the 9th Berlin Biennale.