In his film for Documenta 14, Scottish video artist Douglas Gordon (born 1966) presents a portrait of Jonas Mekas’ acclaimed autobiography I Had Nowhere to Go, mixing stills with footage of Mekas reading. The book relays how Mekas fled his home in Lithuania to escape the Nazis, ending up in a camp for displaced persons before managing to emigrate to America, where he commenced his career in underground film, establishing the legendary Anthology Film Archives in New York. Gordon’s artist’s book accompanies his film. Neither is a straight retelling of Mekas’ classic account of dislocation; rather, they are Gordon’s artistic reactions to his book and its narrative style. The book merges film stills with text excerpts from Mekas’ memoir.
Published by Kerber. Edited by Susanne Gaensheimer, Klaus Görner. Preface by Susanne Gaensheimer.Text by Michael Fried, Klaus Görner, Caoimhin Mac Giolla Léith. Interview by James Franco.
Famed for his 24-Hour Psycho, Scottish-born, New York–based artist Douglas Gordon (born 1966) is one of the most influential video and film artists of his generation. Produced in close collaboration with the artist, this catalogue looks at his latest works in the context of his earlier oeuvre.
Pretty Much Every Word Written, Spoken, Heard, Overheard
Published by Skira. By Mirta D'Argenzio, Giorgio Verzotti.
During his career Douglas Gordon has received major international prizes including the Turner Prize in 1996, a prize at the Venice Biennale in 1997, and the Hugo Boss Prize in 1998. He is considered one of the greatest contemporary video artists, and his works are part of the permanent collections of the Tate Modern in London and the Guggenheim Museum in New York. Gordon has always been interested in the dual expressive register of verbal communication and images in movement. He became successful through video installations of unusual dimensions that included his texts printed on the walls of the exhibition. This British artist has also worked in the mediums of photography, objects, and film. Gordon is well known for his videos which make use of sequences from famous Hollywood movies, such as a recent installation of a nonstop sequence of Alfred Hitchcock films. Gordon studied at the Glasgow School of Art and at the Slade School of Fine Arts in London.
Published by The Museum of Modern Art, New York. Essay by Klaus Biesenbach.
Throughout his career, Douglas Gordon has engaged in an ongoing reflection on the motion picture, examining the relationship between the movies and our common knowledge and perception of them. In altering, monumentalizing, and alienating our collective understanding of film, he visualizes, pictures, and "sculpts" time. Douglas Gordon, which was organized by MoMA curator Klaus Biesenbach, collects images and texts from the past 40 years (a nod to Gordon's birth date of 1966), all of which deal with ideas of visual memory, shared visual knowledge, and the interwoven texture of imagined and remembered sounds and images. It explores the relationship between film and psychoanalysis, and the way in which these systems of thought have affected the idea of individual biography: Gordon is acutely attuned to the relation of such deep experiences as love, longing, loss, and trauma to what one feels while watching film. He understands how films refer to other films, how they superimpose themselves upon each other and upon their viewers' memories, and how, through their ubiquity and accessibility, films express and represent the ideals and fears of their times. Essay by Klaus Biesenbach.
Published by Art Gallery of York University/The Power Plant. Essay by Philip Monk.
How to double-cross Hollywood as an artist? This first monograph on British artist Douglas Gordon analyses all of the artist's video projection installations that are based on his appropriations of Hollywood film noir or Hitchcock films, examining Gordon's language works as well. Counter to the usual interpretations of Gordon's work as a dichotomy between good and evil, Double-Cross argues that his work is all about dissemblance, with the dichotomy only one deception among others. It also argues that, with the inaugural separation of the components of sound and image in his work, one of the artist's disguises is that of an author. All the fragments of the artist's work--projections, language works, photography--add up to the production of a criminal author. His final disguise is that of an experimental filmmaker whose subject is not the film noir themes of trust, guilt, fate, and the madness of the double that appear as the content of his work, but the temporality of the spectator's engagement.