Art|Unlimited
Art|Unlimited
Art|Unlimited
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40 |Art Unlimited<br />
DAVID CLAERBOUT<br />
Title | Orchestra, 2011<br />
Media |Laserchrome transparency mounted on opal matt Diasec inaluminum lightbox;<br />
image: 154 x301cm, lightbox: 155x302 x18cm; edition of 5<br />
Artist |David Claerbout, *1969, Kortrijk, Belgium<br />
Lives and works inAntwerp, Belgium, and Berlin, Germany<br />
Galleries | Hauser&Wirth<br />
Stand Phone +41 616995044<br />
Hauser&Wirth<br />
CH-8005 Zürich |Limmatstrasse 270<br />
Phone +41 44 4468050 |Fax +41 444468055<br />
zurich@hauserwirth.com |www.hauserwirth.com<br />
Lambert<br />
Yvon Lambert<br />
FR-75003 Paris |108, rue Vieille-du-Temple<br />
Phone +33 142710933|Fax +33 142718747<br />
paris@yvon-lambert.com |www.yvon-lambert.com<br />
Directors |Yvon Lambert, Olivier Bélot, Séverine Waelchli, Nicolas Nahab,<br />
Mélanie Meffrer-Rondeau, Eléonore Lambertie, Luisa Lagos<br />
Szwajcer<br />
Mobile +32 475441127<br />
Galerie Micheline Szwajcer<br />
BE-2000 Antwerpen |Verlatstraat 14<br />
Phone +32 32371127 |Fax +32 32389819<br />
contact@gms.be |www.gms.be<br />
Director |Micheline Szwajcer<br />
Artwork Description |Although the Belgian artist David Claerbout studied painting, he is known for his<br />
photographic installations and video works, which deal with the experience of<br />
time and place and the incapability of the representation of aspecific moment:<br />
the failure, indeed, of any form ofvisual reproduction to completely capture<br />
‘reality.’ Claerbout’s Orchestra, alarge lightbox, singles out aspecific theatrical<br />
moment that has been suspended in silence. This lightbox is akin to the series<br />
Nocturnal Lightboxes (1999), Venice Lightboxes (2000), and Nightscape Lightboxes<br />
(2002/03).<br />
The spectator of the work enters into acompletely darkened room to gradually<br />
make out an object hanging on the wall, the lightbox. Slowly adapting to the dark<br />
surroundings, one sees the dimly lit profile of an orchestra conductor whose<br />
stare isdirected back to the spectator. The orchestra is not visible here, having<br />
been cropped out by the camera angle. As one’s eyes adapt steadily, it becomes<br />
apparent that the audience has focused their gaze on the spectator so that he or<br />
she feels like an intruder on the performance.<br />
Orchestra, 2011
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