Rineke Dijkstra’s Videography – Part 1
‘I Can See A Woman Crying’ Video Installation
Click to zoom
The new series of work by photographer Rineke Dijkstra resulting from her time in Liverpool in 2009 is part entitled ‘I Can See A Woman Crying’, a three-channel HD video installation. I was appointed Rineke’s editor and camera operator, being closely involved in many of her ideas. A still of the video is shown above.
When filming ‘The Krazyhouse‘, also part of the new series of work, Dijkstra got presented with the opportunity to work with the TATE Liverpool and bring an idea to life that she has had for some time.
Dijkstra wanted to portrait a group of children and study their individual personalities, their character within a group as well as the group’s overall dynamic. For the first time, she also introduces speech (including subtitles) into her work, which adds tremendous depth to the image and allows even more insight into the group’s behaviour. Shy remarks mix with a crescendo of a conversation and the three channel camera setup captures the moments in great detail.
The children are discussing the artwork ‘The Weeping Woman” by Picasso, which is in the TATE Collection. TATE Liverpool chose to exhibit Dijkstra’s work in the ground floor room as an introductory piece to their Picasso exhibition in 2010.
Having been premiered at the Max Hetzler Gallery in Berlin, the work continues to be on show around the globe, including the Marian Goodman Gallery in New York and Paris.
Follow the gallery links above to see an excerpt of the video and installation views.
Exhibitions and Reviews
Der Tagesspiegel Review.
(in German language)
Rineke Dijkstra’s Videography – Part 2
‘The Krazyhouse’ Video Installation
Click to zoom
The new series of work by photographer Rineke Dijkstra resulting from her time in Liverpool in 2009 is part entitled ‘The Krazyhouse’, a five-channel HD video installation. Other videos have been released including ‘I Can See A Woman Crying‘.
Her successful video installation ‘The Buzz Club’, filmed in 1996 in Liverpool/UK and Zaandam/Netherlands, inspired her to return to Liverpool and invite teenagers to perform to their favorite songs in front of her eye and lens.
I was Rineke’s editor and camera operator for the duration, being closely involved in many of her ideas (read more). Two stills of the videos entitled ‘Phil’ and ‘Nicki’ are shown below (click to zoom).
A series of five videos, portraying five subjects in sequence, make ‘The Krazyhouse’ complete. Having been premiered at the Max Hetzler Gallery in Berlin, the work continues to be on show around the globe, including the Marian Goodman Gallery in New York and Paris. Follow the gallery links to see all video stills and installation views.
Reviews
Leslie Camhi appositely writes: “The work represents something of a departure for Dijkstra. [...] Yet it’s also a continuation of her great themes: the ungainly grace of youth, shadowed with doubt and in the first tentative flush of self-assertion. Dance, she finds, releases something in her subjects, and the moving portrait allows her to capture a more intimate reality.” (for NY Times Mag)
Follow these links to read the full reviews:
New York Times Magazine Review. Frieze Art Magazine Review.
Der Tagesspiegel Review.
(in German language)
Introduction to working with Rineke Dijkstra
From Sound Engineering to Videography
Four video stills: The Buzz Club
Liverpool, UK/Mysteryworld, Zaandam, NL 1996-1997
© Rineke Dijkstra
I started working with renowned dutch photographer Rineke Dijkstra in November 2008. Dijkstra was initially looking for a sound recordist at the time, to be working on her new video installation, but following my experience in video production I was soon joining the project as video editor and camera operator.
A working relationship developed spanning much further than capturing the sound or image and a friendship emerged, that would have me involved at the deep end of many of her ideas.
