In the past days—before this opening—you would have seen me carrying strange objects like accessories through the streets: a neon tube under my arm, a chair over my shoulder, hugging a lamp and dragging a bed...
This image of me in the streets, setting up a domestic landscape in a temporary space, made me think of Mobili nella Valle by Giorgio De Chirico where the painter arranged domestic objects compositions in empty valleys, connecting his experience of moving often in his youth to his research of archaism.
Actually, my apartment looks pretty empty right now, since half of my furniture is in here. It lacks a good reading light near to the sofa, an empty chair where I can pile books... Never mind. It’s for a week.
Feeling empty and bilocated I ask myself: do the rest of my clothes that I am not wearing today miss the ones that are with me, on me? Are they waiting for them to come back to the closet?
All objects that leave the drawers, the closet, the luggage, the shopping bag or the laundry, are they doing that with a feeling? While directing those objects do I empathise with their feelings or do I repress them? Usually, when referring to clothes that are pictured in a magazine without crediting the brand, the phrase “all clothes model’s own” or “all clothes stylist’s own” is used. “All clothes artists’ own” looks at artists’ relationship with the body using their own vocabulary of objects, sometimes garments, sometimes something else, to express their proximity and belonging.
“All clothes artists’ own” presents a video programme by contemporary artists. This video programme of short films views clothes as a medium and represents a research that I started as soon as I understood my incapacity of producing video works as part of my own artistic practice. Instead of directing, I decided to focus on the performative role played by the clothes portrayed on the screen as an investigation of installation and choreography. This idea of a medium (the fashion and the wearable) within another (the moving images) looks at remediation as a strategy to decipher artists overlapping languages.
Text by Davide Stucchi
The video program includes videos by artists Susan Cianciolo, DIS, Sylvie Fleury, Anna Franceschini, Delia Gonzalez, Thomas Julier, K8 Hardy, Shana Moulton, Kaspar Müller, Ken Okiishi, Oliver Payne, Walter Pfeiffer and Bea Schlingelhoff.
Davide Stucchi, Greek belts, 2020. Courtesy the artist.
Still from KASPAR MÜLLER's Forever Alone and Around the World, 2012. Courtesy the artist.
Still from SHANA MOULTON's A Unique Boutique, 2013. Courtesy the artist & Galerie Gregor Staiger, Zurich.
Still from WALTER PFEIFFER's Music for Millions, 1977. Courtesy the artist & Galerie Gregor Staiger, Zurich.
Still form OLIVER PAYNE's The Clothes Themselves, 2018. Courtesy the artist, Cav Empt, Toyko; Herald St, London; Gavin Brown’s Enterprise, New York
Still from DELIA GONZALEZ's Horse Follows Darkness, 2018. Courtesy the artist and Hot Wheels Athens, Athens.
Featured image Installation view of All Clothes Artists’ Own
Bajagić’s practice is born in the autopsy of the Greenbergian cadaver. She has transplanted the formalist pursuit of the latter to the bodies condemned to satisfy the priapism of the global masturbatory system. Imagine the Ultimate Paintings of Ad Reinhardt spread out alongside an XVideos.com cast on a dissection table. Le Confort Moderne, Poitiers