Blow Out featuring Ver(uschk)a

Christopher Roth
January 22 – February 27, 2016

41°03’58.9”N 8°57’27.7”E (lower), 2016

41°03’59.0”N 8°57’27.5”E, 2016

41°03’58.9”N 8°57’27.7”E (upper), 2016 

41°03’59.3”N 8°57’27.6”E, 2016

41°03’59.0”N 8°57’28.2”E (right), 2016 

From left to right on walls.

All works: Latex paint (ChromakeyGreen 1030)

The shapes of the wall paintings are based on a window in the architect Dante Bini's La Cupola, a dome-like structure built for the Italian modernist filmmaker Michelangelo Antonioni and his lover, the actress Monica Vitti. 

 

Blow Out (The Novel), 2016 (detail; on chairs)

Book (282 pages)

Roth’s novel Blow Out explores Quentin Meillassoux’s concept of extro-science fiction (or XSF), a science fiction that imagines an existence in which not all occurrences can be explained by empirically derived, reproducible scientific rules.

 

Photo © Andrea Rossetti

41°03’58.8”N 8°57’28.0”E and 41°03’59.0”N8°57’28.2”E, 2016

41°03’58.9”N 8°57’27.7”E (upper), 2016

41°03’58.9”N 8°57’27.7”E (lower), 2016

41°03’59.0”N 8°57’27.5”E, 2016

41°03’59.3”N 8°57’27.6”E, 2016 (detail)

From left to right on walls.

All works: Latex paint (ChromakeyGreen 1030)

The shapes of the wall paintings are based on a window in the architect Dante Bini's La Cupola, a dome-like structure built for the Italian modernist filmmaker Michelangelo Antonioni and his lover, the actress Monica Vitti. 

 

Blow Out (The Novel), 2016 (on chairs)

Book (282 pages)

Roth’s novel Blow Out explores Quentin Meillassoux’s concept of extro-science fiction (or XSF), a science fiction that imagines an existence in which not all occurrences can be explained by empirically derived, reproducible scientific rules.

 

Photo © Andrea Rossetti

41°03’58.9”N 8°57’27.7”E (upper), 2016 

41°03’59.3”N 8°57’27.6”E, 2016

41°03’59.0”N 8°57’28.2”E (right), 2016 

From left to right.

All works: Latex paint (ChromakeyGreen 1030)

The shapes of the wall paintings are based on a window in the architect Dante Bini's La Cupola, a dome-like structure built for the Italian modernist filmmaker Michelangelo Antonioni and his lover, the actress Monica Vitti. 

 

Photo © Andrea Rossetti

41°03’59.3”N 8°57’27.6”E, 2016

41°03’59.4”N 8°57’27.9”E (left) and 41°03’59.4”N 8°57’27.9”E (right), 2016

41°03’58.8”N 8°57’28.0”E and 41°03’59.0”N8°57’28.2”E, 2016

From left to right.

All works: Latex paint (ChromakeyGreen 1030)

The shapes of the wall paintings are based on a window in the architect Dante Bini's La Cupola, a dome-like structure built for the Italian modernist filmmaker Michelangelo Antonioni and his lover, the actress Monica Vitti. 

 

Photo © Andrea Rossetti

41°03’58.9”N 8°57’27.7”E (lower), 2016

41°03’59.0”N 8°57’27.5”E, 2016

From left to right.

All works: Latex paint (ChromakeyGreen 1030)

The shapes of the wall paintings are based on a window in the architect Dante Bini's La Cupola, a dome-like structure built for the Italian modernist filmmaker Michelangelo Antonioni and his lover, the actress Monica Vitti. 

 

Photo © Andrea Rossetti

41°03’59.3”N 8°57’27.6”E, 2016 (right) 

Latex paint (ChromakeyGreen 1030)

The shape of the wall painting is based on a window in the architect Dante Bini's La Cupola, a dome-like structure built for the Italian modernist filmmaker Michelangelo Antonioni and his lover, the actress Monica Vitti. 

 

Blow Out (The Novel), 2016 (on chairs)

Book (282 pages)

The novel explores Quentin Meillassoux’s concept of extro-science fiction (or XSF), a science fiction that imagines an existence in which not all occurrences can be explained by empirically derived, reproducible scientific rules.

 

Photo © Andrea Rossetti

Blow Out (The Novel), 2016

Book (282 pages)

The novel explores Quentin Meillassoux’s concept of extro-science fiction (or XSF), a science fiction that imagines an existence in which not all occurrences can be explained by empirically derived, reproducible scientific rules.

 

Photo © Andrea Rossetti

Blow Out (The Novel), 2016

Book (282 pages)

The novel explores Quentin Meillassoux’s concept of extro-science fiction (or XSF), a science fiction that imagines an existence in which not all occurrences can be explained by empirically derived, reproducible scientific rules.

 

Photo © Andrea Rossetti

QR code to access

 

Christopher Roth and Vera Lehndorff

annA+3, 2015

HD film

Duration 18:40 min

Three women receive signals from a man in a skeleton costume standing in a tower. All three women depart, from the woods, from a flat, from the streets. They cross the city by foot, by tram, and by subway, to meet the skeleton at a huge fireplace. 

 

Photo © Andrea Rossetti

Christopher Roth and Vera Lehndorff

annA+3, 2015

HD film 

Duration 18:40 min

Three women receive signals from a man in a skeleton costume standing in a tower. All three women depart, from the woods, from a flat, from the streets. They cross the city by foot, by tram, and by subway, to meet the skeleton at a huge fireplace. 

 

Photo © Andrea Rossetti

Pilgrim Viewer (in collaboration with Sam Chermaye and Arno Brandlhuber), 2015 (left)

Powder coated pipe, HD television monitor, speakers

The viewing device is loosely based on furniture in Le Corbusier's Chapel Notre Dame du Haut in Ronchamp, France (1950-1955). The metal rail facing the monitor is intended to be used to sit on or lean against.

 

On screen: Blow Out (The Film), 2016

HD film, 2 USB sticks

Duration 10:04 min

The Film constructed a densely woven web of associations with a cast of characters that includes actresses, architects, film directors and philosophers in a constant temporal displacement, yet somehow all connected to the decaying building on the Sardinian coast.

 

41°03’58.9”N 8°57’27.7”E (upper), 2016 

41°03’59.3”N 8°57’27.6”E, 2016

41°03’59.0”N 8°57’28.2”E (right), 2016 

Visible through doorway, from left to right

All works: Latex paint (ChromakeyGreen 1030)

The shapes of the wall paintings are based on a window in the architect Dante Bini's La Cupola, a dome-like structure built for the Italian modernist filmmaker Michelangelo Antonioni and his lover, the actress Monica Vitti. 

 

Photo © Andrea Rossetti

Pilgrim Viewer (in collaboration with Sam Chermaye and Arno Brandlhuber), 2015 (left)

Powder coated pipe, HD television monitor, speakers

The viewing device is loosely based on furniture in Le Corbusier's Chapel Notre Dame du Haut in Ronchamp, France (1950-1955). The metal rail facing the monitor is intended to be used to sit on or lean against.

 

I Am In Paris2015 (right)

Murano glass neon tubes, un-electrified

The sentence is the sole spoken text of the actress/model Veruschka, who appears in brief but iconic scenes in the film. The line recurs mantra-like throughout Roth’s film. 

 

41°03’59.3”N 8°57’28.1”E, 2016 (through doorway)

41°03’59.1”N 8°57’27.9”E, 2016 (ceiling)

Both works: Latex paint (ChromakeyGreen 1030) 

The shapes of the wall paintings are based on a window in the architect Dante Bini's La Cupola, a dome-like structure built for the Italian modernist filmmaker Michelangelo Antonioni and his lover, the actress Monica Vitti. 

 

Photo © Andrea Rossetti

Pilgrim Viewer (in collaboration with Sam Chermaye and Arno Brandlhuber), 2015 (right)

Powder coated pipe, HD television monitor, speakers

The viewing device is loosely based on furniture in Le Corbusier's Chapel Notre Dame du Haut in Ronchamp, France (1950-1955). The metal rail facing the monitor is intended to be used to sit on or lean against.

 

On screen: Blow Out (The Film), 2016

HD film, 2 USB sticks

Duration 10:04 min

The Film constructed a densely woven web of associations with a cast of characters that includes actresses, architects, film directors and philosophers in a constant temporal displacement, yet somehow all connected to the decaying building on the Sardinian coast. 

 

41°03’59.1”N 8°57’27.9”E, 2016 (ceiling)

Latex paint (ChromakeyGreen 1030) 

The shapes of the wall paintings are based on a window in the architect Dante Bini's La Cupola, a dome-like structure built for the Italian modernist filmmaker Michelangelo Antonioni and his lover, the actress Monica Vitti.

 

41°03’59.3”N 8°57’27.8”E, 2015 (left)

Wood

In the film a boarded up opening can be seen. The work functions as an extension of the film’s temporal and conceptual conflation. 

 

Photo © Andrea Rossetti

41°03’59.1”N 8°57’27.9”E, 2016 (ceiling)

Latex paint (ChromakeyGreen 1030) 

The shapes of the wall paintings are based on a window in the architect Dante Bini's La Cupola, a dome-like structure built for the Italian modernist filmmaker Michelangelo Antonioni and his lover, the actress Monica Vitti.

 

41°03’59.3”N 8°57’27.8”E, 2015

Wood

In the film a boarded up opening can be seen. The work functions as an extension of the film’s temporal and conceptual conflation. 

 

Photo © Andrea Rossetti

I Am In Paris, 2015 (left)

Murano glass neon tubes, un-electrified

Edition of 3

The sentence is the sole spoken text of the actress/model Veruschka, who appears in brief but iconic scenes in the film. The line recurs mantra-like throughout Roth’s film. 

 

41°03’59.1”N 8°57’27.9”E, 2016 (ceiling)

Latex paint (ChromakeyGreen 1030) 

The shapes of the wall paintings are based on a window in the architect Dante Bini's La Cupola, a dome-like structure built for the Italian modernist filmmaker Michelangelo Antonioni and his lover, the actress Monica Vitti.

 

41°03’59.3”N 8°57’27.8”E, 2015 (right)

Wood

In the film a boarded up opening can be seen. The work functions as an extension of the film’s temporal and conceptual conflation. 

 

Photo © Andrea Rossetti

I Am In Paris, 2015

Murano glass neon tubes, un-electrified

The sentence is the sole spoken text of the actress/model Veruschka, who appears in brief but iconic scenes in the film. The line recurs mantra-like throughout Roth’s film. 

 

Photo © Andrea Rossetti

Pilgrim Viewer (in collaboration with Sam Chermaye and Arno Brandlhuber), 2015 

Powder coated pipe, HD television monitor, speakers

The viewing device is loosely based on furniture in Le Corbusier's Chapel Notre Dame du Haut in Ronchamp, France (1950-1955). The metal rail facing the monitor is intended to be used to sit on or lean against.

 

On screen: Blow Out (The Film), 2016

HD film, 2 USB sticks

Duration 10:04 min

The Film constructed a densely woven web of associations with a cast of characters that includes actresses, architects, film directors and philosophers in a constant temporal displacement, yet somehow all connected to the decaying building on the Sardinian coast.

 

Photo © Andrea Rossetti

Pilgrim Viewer (in collaboration with Sam Chermaye and Arno Brandlhuber), 2015

Powder coated pipe, HD television monitor, speakers

The viewing device is loosely based on furniture in Le Corbusier's Chapel Notre Dame du Haut in Ronchamp, France (1950-1955). The metal rail facing the monitor is intended to be used to sit on or lean against.

 

On screen: Blow Out (The Film), 2016

HD film, 2 USB sticks

Duration 10:04 min

The Film constructed a densely woven web of associations with a cast of characters that includes actresses, architects, film directors and philosophers in a constant temporal displacement, yet somehow all connected to the decaying building on the Sardinian coast. 

 

Photo © Andrea Rossetti

Pilgrim Viewer (in collaboration with Sam Chermaye and Arno Brandlhuber), 2015 (detail)

Powder coated pipe, HD television monitor, speakers

The viewing device is loosely based on furniture in Le Corbusier's Chapel Notre Dame du Haut in Ronchamp, France (1950-1955). The metal rail facing the monitor is intended to be used to sit on or lean against.

 

On screen: Blow Out (The Film), 2016

HD film, 2 USB sticks

Duration 10:04 min

The Film constructed a densely woven web of associations with a cast of characters that includes actresses, architects, film directors and philosophers in a constant temporal displacement, yet somehow all connected to the decaying building on the Sardinian coast. 

 

Photo © Andrea Rossetti

Pilgrim Viewer (in collaboration with Sam Chermaye and Arno Brandlhuber), 2015

Powder coated pipe, HD television monitor, speakers

The viewing device is loosely based on furniture in Le Corbusier's Chapel Notre Dame du Haut in Ronchamp, France (1950-1955). The metal rail facing the monitor is intended to be used to sit on or lean against.

 

On screen: Blow Out (The Film), 2016

HD film, 2 USB sticks

Duration 10:04 min

The Film constructed a densely woven web of associations with a cast of characters that includes actresses, architects, film directors and philosophers in a constant temporal displacement, yet somehow all connected to the decaying building on the Sardinian coast. 

 

Photo © Andrea Rossetti

Blow Out featuring Ver(uschk)a

Christopher Roth
January 22 – February 27, 2016
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Esther Schipper is pleased to present Christopher Roth’s second solo exhibition with the gallery. Entitled Blow Out, the exhibition includes a new film with a specially conceived viewing device, a series of wall paintings, a sculptural intervention, a neon work and a new, unfinished novel.

 

Blow Out constitutes a densely woven web of associations with a cast of characters that includes actresses, architects, film directors, philosophers, and La Cupola, a decaying building on the Sardinian coast in a constant temporal displacement. 

 

Cornerstone is the film Blow Out, largely shot in the so-called Bini-Shell (after its architect Dante Bini), completed in 1972 for the Italian modernist film director Michelangelo Antonioni who intended to inhabit it with his lover, the actress Monica Vitti. (Bini’s innovation allowed the construction of concrete shells hardened around an inflated balloon later removed.) Surtitles have a hypnotic quality but also give the film a loose narrative structure, beginning with its initial direct salutation: "Dear Antonioni…", here doubling as a reference to Roland Barthes' 1980 text on the director’s work. Now in a state of disrepair, the building’s history—built for a couple that split up before its completion—is evoked as three women appear to visit the site, vanish and reappear. Despite their apparent age difference, there is a distinct likeness between the three female figures, encouraging a temporal slippage: Vitti is shown in an interview from the 1960s, while a woman of similar age looks out from the now-dilapidated building's terrace and wanders through the interior, with its central, erotically charged staircase conceived by Antonioni as a kind of display for his beautiful lover. Adding further temporal layers, the third woman, Vera Lehndorff, appears in three guises: as young actress who, known under her stage name Veruschka, starred in brief but iconic scenes in Antonioni’s 1966 Blow Up, as herself circa 2015, and as miniaturized 3-D scan wearing the costume from the Antonioni film. Her sole spoken line from Blow Up—"I am in Paris"—recurs mantra-like throughout Roth’s film and as a new neon work. Another presence will occur online: Lehndorff and Roth’s 2015 film annA+3 starring Lehndorff in the four main roles will be shown on the website where-is-anna.xyz during the exhibition.

 

Based on the openings in Dante Bini’s structure, bright green-screen wall paintings further extend the film’s temporal and conceptual conflation into the exhibition space.

 

Roth’s novel Blow Out explores Quentin Meillassoux’s concept of extro-science fiction (or XSF), a science fiction that imagines an existence in which not all occurrences can be explained by empirically derived, reproducible scientific rules. Partially inspired by René Barjavel’s 1943 Ravage, it depicts a future that tries to adapt to the consequences of the sudden and inexplicable loss of electricity.

 

While earlier of Christopher Roth’s projects, notably 80*81, with Georg Diez, sought to reconstruct events in the past as evidence of paradigmatic cultural and historical shifts, like his recent feature-length film Hyperstition (in collaboration with Armen Avanessian) the new body of work can be located in the dynamic between Meillassoux’s theory of a world that exists outside of it’s understanding by humanity and J.G. Ballard’s dictum from 1971 that "The future is a better key to the present than the past."

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