Identifications: Giovanni Anselmo
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In the series Identifications, works by leading artists from the 1960s were mounted one after the other. These were recorded according to their instructions, and they often feature in their own work.
According to Schum, the title of the series should be taken literally. It underlines the unity between artist and work. When the work was first presented, he explained this as follows: 'We no longer perceive the work of art as a painting or sculpture not connected with the artist. On television, the artist can reduce his work to an attitude, a simple gesture, referring to his concept. The work of art is conveyed as a unity of concept, visualization, and the artist who provides the idea.'
In some of the works, such as, those by Beuys, Ruthenbeck, Rinke, Rückriem… Van Elk, Anselmo, Boetti, Calzolari, De Dominicis, and Gilbert & George, the role of the camera is confined to that of a recording instrument. In others, the artists interact with the camera, as in the case of Fulton, Brouwn, Merz, Zorio, Kuehn, Sonnier, and Serra.
A block of cement with a leather flap projecting from it: Anselmo twists the leather around a stick and then puts the stick against a wall so that the leather stays taut. This action is filmed with fixed camera position. When completed, the camera zooms into the twisted leather. "My work is the physicalization of the force of an action, of the energy of a situation, of an experience, a happening, or in the field of a symbol, a sign, or static situation. Thus it is necessary, for instance, that the energy of contortion by the force employed remain visible, that it should not exist merely as a static form" (from a conversation with G.Schum). In 1968 Anselmo carried out various contortion, the work consisting of a block of cement poured with the inclusion of various materials, which are stretched taut by twisting prior to exhibition. In this work extra emphasis is given to the procedure of the action, which causes the tension on the stick. Read more...