Rosemarie Trockel / La Biennale di Venezia 1999
TROCKEL Rosemarie (Schwerte, Germania 1952), New York, Nabe Press, [printing: Asmuth, Köln], 1999, 2 volumes - 24x14,5 cm., plastic slipcase, (vol. 1) [pp. 80] (vol.2) pp. 128, catalog/artist's book made up by two volumes. The first one is totally illustrated with film stills extracted from the three films (Sleepingpill, Kinderspielplatz and Eye) that Rosmarie Trockel showed at the Venice Biennale in 1999; the second contains 7 essays in English and German by Wilfried Dickhoff (Voraus-Setzung/Pre-Setting), Gudrun Inboden (Vorwort/Foreword) (Gegenwart, als Differenz gesehen/Presence seen as Difference), Lisa Zeiger(Trockel's Alarm Clock), Joan Simon (The once and future Kinderspielplatz: Getting ready to roll), Ralph Melcher (Die Masken von Venedig. Skizzen zur Bewegungsfreiheit in der Kunst von Rosemarie Trockel/The Masks of Venice. Sketches on Freedom of Movement in the Art of Rosemarie Trockel) and Jeannette Stoschek (Der Mythos von Zeit und Vergänglichkeit. Ein venezianisches Thema/The Myth of Time and Transcience. A Venetian Theme)
TROCKEL Rosemarie (Schwerte, Germania 1952), New York, Nabe Press, [printing: Asmuth, Köln], 1999, 2 volumes - 24x14,5 cm., plastic slipcase, (vol. 1) [pp. 80] (vol.2) pp. 128, catalog/artist's book made up by two volumes. The first one is totally illustrated with film stills extracted from the three films (Sleepingpill, Kinderspielplatz and Eye) that Rosmarie Trockel showed at the Venice Biennale in 1999; the second contains 7 essays in English and German by Wilfried Dickhoff (Voraus-Setzung/Pre-Setting), Gudrun Inboden (Vorwort/Foreword) (Gegenwart, als Differenz gesehen/Presence seen as Difference), Lisa Zeiger(Trockel's Alarm Clock), Joan Simon (The once and future Kinderspielplatz: Getting ready to roll), Ralph Melcher (Die Masken von Venedig. Skizzen zur Bewegungsfreiheit in der Kunst von Rosemarie Trockel/The Masks of Venice. Sketches on Freedom of Movement in the Art of Rosemarie Trockel) and Jeannette Stoschek (Der Mythos von Zeit und Vergänglichkeit. Ein venezianisches Thema/The Myth of Time and Transcience. A Venetian Theme)
TROCKEL Rosemarie (Schwerte, Germania 1952), New York, Nabe Press, [printing: Asmuth, Köln], 1999, 2 volumes - 24x14,5 cm., plastic slipcase, (vol. 1) [pp. 80] (vol.2) pp. 128, catalog/artist's book made up by two volumes. The first one is totally illustrated with film stills extracted from the three films (Sleepingpill, Kinderspielplatz and Eye) that Rosmarie Trockel showed at the Venice Biennale in 1999; the second contains 7 essays in English and German by Wilfried Dickhoff (Voraus-Setzung/Pre-Setting), Gudrun Inboden (Vorwort/Foreword) (Gegenwart, als Differenz gesehen/Presence seen as Difference), Lisa Zeiger(Trockel's Alarm Clock), Joan Simon (The once and future Kinderspielplatz: Getting ready to roll), Ralph Melcher (Die Masken von Venedig. Skizzen zur Bewegungsfreiheit in der Kunst von Rosemarie Trockel/The Masks of Venice. Sketches on Freedom of Movement in the Art of Rosemarie Trockel) and Jeannette Stoschek (Der Mythos von Zeit und Vergänglichkeit. Ein venezianisches Thema/The Myth of Time and Transcience. A Venetian Theme)
"It is a fine thing to see that, despite their obvious impossibility, teasing, ambiguous images of non-identity could exist. The three films which Rosemarie Trockel showed in the German pavilion of the 1999 Venice Biennial Exhibition and which are the subiect of this book allow us to see that. How? Perhaps because they address the problematic of so-called femininity and pose the associated questions of non-identity.
The film Sleepingpill shows coming, resting and going in a public' dormitory whose interior and exterior architecture was especially designed and realized for the film by Rosemarie Trockel, in cooperation with Tim Power.
The film Kinderspielplatz fails to provide any indirect representation of time like today's action films frantically still try to do. Instead, it confronts viewers with a direct presentation of time.
The film Eye forms an intermediate link, an intermezzo which unsettles and diverts the temporal relations in the other two films which could be identified with atmospheres of future and past. It evokes an apparent being-seen although no gaze can be fixated, nor is the viewer transfixed by a gaze, such as the observing gaze of power.". Extract from the Pre-Setting by Wilfried Dickhoff
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