Julia Scher

Galerie Zwirner

This exhibition of Julia Scher’s works seemed to say that art has to be a partner with life. Does this mean more realism, more real-life references, more social relevance? Art’s content, if it could be exactly defined, would thus be a more-or-less direct expression of life and the creation of images that would reproduce life. For this reason Scher’s work has a dramatic effect as its goal. That this effect works on a social and linguistic level, as well as on a moral and psychological one seems not to matter. For this work’s primary area was the gallery, as the title of the installation, Zwirners Verlies (Zwirner’s dungeon, 1992), demonstrated.

As a complicated video installation with 12 monitors and 15 cameras, the installation took place on all three levels of the gallery; but the true dungeon with bars and chains was located in the basement level. The images on the monitors played with

to keep reading

Artforum print subscribers have full access to this article. Please sign in below.

Not registered for Register here.

SUBSCRIBE NOW and save up to 65% off the newsstand price for full online access to this issue and our archive.

Order the PRINT EDITION of the November 1992 issue for $17 or the ONLINE EDITION for $5.99.

* This rate applies to U.S. domestic subscriptions.