Tony Oursler

Soledad Lorenzo Gallery

Submitted by: VideoArtWorld

Written by: Silvio Saura

Start date: 20-02-2008
End date: 20-02-2008
Location: Madrid, SPAIN
Web URL: http://

Crazy video projections. Hanging bullets that explode without any aim. Flying objects on the space, fragments that move and break in the air. Phrases said pressing the teeth by a face that distorts and speaks.

The gallery is submerged in the darkness. Before entering, from outside the door, voices can be heard, mocking faces, noises, shots, explosions, screams. Hinc erit fletus et estridor dentium (this feeling of crying and screeching of the teeth).

Once inside, it seems like we have reached a horrifying circle of the Hollywood type, maybe created by George Lucas. On the hanging spaces, fragments of the guerrilla giants can be seen, as well as loudspeaker bullets and lights as a red background. On the surface, over these flying objects, the character’s eyes, nose, lips and wrinkles appear as theatre masks are projected.

Every face is projected over the media with different volumes, giving the feeling of all the characters that have been absorbed and bottled inside the surfaces. The video projections are so precise that, by mistake, it can be thought that the images came from the gypsum fragments, kept frozen in the air by nylon ropes.

This is a video scenery that can only be signed by Tony Oursler (New York, 1957), the American who knew how to innovate the videoart in space and expression. From 1992, with the work “The watching”, Oursler uses the face as an expressive and dramatic tool, a device to give more power to the “without-limits” of the visible. The noise and the lights become atmospheric dimensions that bear and lean on the image; they are dilated and humanized, towards the limits of the material. This is the work of the American artist: the restitution before our eyes of visual hegemony.

It invites the sight to enter into the holes of the projected image, and to leave aside the two-dimensionality of the video. That unstable shot captured over and with the bear of the support, represents the unique way towards a real existence and a three-dimensional presence.

The monologues of each face-bullet in the gallery are an example of a process of sculpturalization of the video. Every actor recites in curl his violent verses, onomatopoeias that feign and then act the violence itself. And each volume keeps inside the hypostatical and aerodynamic faces that represent the detention of the speed, the lack of sense of the weapons and the spillage of the languages.

The images of these installations, then, represent the future of the image and their vices as voyeur. The art is, then, an excuse to transmit messages, distorted words of metallic breaths, camouflaged knifes and hysterical laughter.

And the human body becomes, in the representation of the bad of the contemporary world, a broken fragment that is disintegrated little by little, loosing the origins of the own mythical figure, up to the oblivion of its metaphoric profile.