Technical Knockout

Tracey Rose

Exhibition: Mar 9 – Apr 16, 2000


For ArtPace, Tracey Rose presents a new video installation. In her video, an onslaught of a boxer’s punches is projected onto the gallery’s wall. Layered images displace the location of the viewer and the subject as the boxer moves on and off the screen, in and out of the camera’s multiple views. By filming the blows with cameras embedded within an actual punching bag, Rose effectively positions the viewer as both the aggressor and the target. Her filmic inversion simultaneously implicates and empathizes the viewer. That the blows are thrown by Rose herself further complicates the installation’s point of view. Rose makes physical notions of oppression, questioning whether violence is projected inward or targeted outward.

With this video piece, Rose deconstructs and reconstructs the role of the individual in society, juxtaposing internal/external with personal/social. Rose reminds us of the importance of multiple perspectives, multiple identities and multiple visions in a changing, moving world.

Artist

Tracey Rose

Johannesburg, South Africa

Tracey Rose was born in 1974 in Durban, South Africa and currently lives and works in Johannesburg, South Africa. She received her B.A. in Fine Arts from the University of the Witwatersrand, Johannesburg in 1996. She has taught at Vaal Triangle Technikon, Vanderbijl Park, South Africa and also at University of the Witwatersrand.
Rose’s performance, video and installation work has been exhibited extensively in South Africa, including the 2nd Johannesburg Biennial (1997). Her work has been seen at the Biltmuseet, Umeå, Sweden (1998); Fondiazione Sandretto per l’arte, Turino, Italy (1998); The Center for Art and Media Technology (ZKM), Karlsruhe, Germany (1999); The University of South Florida Contemporary Art Museum, Tampa (1997); and The New Museum for Contemporary Art, New York, NY (1999). This is her first one-person exhibition in the U.S.
Often based in performance, Rose’s work considers—and forces the viewer to reconsider—the formation of identity and the subject of racial politics. Rose inserts personal narrative into institutional frameworks, exemplified by her well-received project for the 1997 Johannesburg Biennial when she hired a paroled prisoner to carve stories into the walls of the South African National Gallery.
Tracey Rose was chosen for her ArtPace residency by the March 1998 panel consisting of Dan Cameron, Annette DiMeo Carlozzi, Amada Cruz, Kellie Jones, Hans-Ulrich Obrist and Nancy Rubins.

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Curators

Amada Cruz

Los Angeles, CA
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Kellie Jones

New York, NY
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Nancy Rubins

Topanga, California, USA

Born in 1952 in Naples, Texas, Californian Nancy Rubins received her MFA from the University of California, Davis. She has had numerous solo exhibitions, including shows at Paul Kasmin Gallery, The Museum of Modern Art, New York, and the Venice Biennale Aperto. Rubins’ work was included in the 1995 Whitney Biennial and the Museum of Contemporary Art, Los Angeles’ Helter Skelter exhibit in 1992. Rubins teaches at the University of California, Los Angeles’ Art Department. She has received grants from the Rockefeller Foundation, the Tiffany Foundation, and the National Endowment for the Arts.

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Annette DiMeo Carlozzi

Austin, TX
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Dan Cameron

Newport Beach, California

From 2012 to 2015 he was Chief Curator at the Orange County Museum of Art in Newport Beach, California. In 2006, Dan Cameron founded the Biennial Prospect New Orleans, where he worked at until 2011. From 1995 to 2005 he was Senior Curator at the New Museum, New York, where he developed numerous group exhibitions, such as East Village USA and Living inside the Grid, and several individual shows dedicated to the artists Martin Wong, William Kentridge, Carolee Schneemann, Carroll Dunham, Doris Salcedo, José Antonio Hernández Diez, among others.
As independent curator he has organized many exhibitions that brought him international attention, such as El arte y su doble (Fundación Caixa, Madrid, 1987); El jardín salvaje (Fundación Caixa, Barcelona, 1991); Cocido y crudo (Museo Nacional Centro de Arte Reina Sofía, Madrid, 1995), among many others. In 2003, he was the Artistic Director of the 8th Istanbul Biennial, and in 2006, Co-curator of the 5th Taipei Biennial.
He has published hundreds of texts in books, catalogues and magazines, and has given numerous talks and conferences at museums and universities around the world, also carrying out an important teaching activity in New York.

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Hans Ulrich Obrist

London, England

Hans Ulrich-Obrist is the Co-Director of Exhibitions and Programs and Director of International Projects at the Serpentine Gallery in London, positions created for Ulrich-Obrist in April 2006. As a curator at the Musée d’Art Moderne de la Ville de Paris, France since 2000, among many other exhibitions he organized solo shows with Jonas Mekas (2003), Anri Sala (2004), and Cerith Wyn Evans (2006). Before this position Ulrich-Obrist was an independent curator for a decade, organizing the group show Take Me I’m Yours at the Serpentine (1995) and Retrace Your Steps: Remember at the John Soane Museum (1999), also in London, England. Ulrich-Obrist was a panelist in 1998 for the 1999-2000 year of artists, and was invited to be a speaker at the 2003 symposium, but was unable to come due to illness.
Photo by Dominik Gigler

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