Amongst the many works of Marcel
Dzama’s show Puppets, Pawns, and Prophets at David Zwirner is the premier of the video installation Sister Squares (2013). The work is named
after Marcel Duchamp’s Opposition and
Sister Squares Are Reconciled (1932), a chess handbook with a focus on pawn
and king endgames.
A disco drumbeat invites viewers
into the gallery. It is an accompaniment to Death
Disco Dance (2011) a video shown on two-stacks of monitors facing-out into
the street, filling the gallery’s windows. Dancers clothed head-to-toe in black
and white, polka-dot leotards perform a choreographed game of musical statues;
dancing simple disco routines in unison, halting with the rhythm of the
drum.
Death Disco Dance, 2011 |
The first room of the show is
filled with Dzama’s watercolours. Drawn in the vernacular of theatrical
diagram, the palette of the images is limited to rich midnight blue, crimson
red and chocolate brown. Scenes depict surreal backstage and onstage scenarios;
costumed mobsters chat idly with Batman and Robin; strange multi-headed
monsters take part in a frothy dance number and a rather macabre hanging scene forms
the backdrop to a salacious revolution.
Further compositions take the
form of costume schematics and diagrammatic images. Linear sequences of dots
running across the surface of the watercolours create the impression of a score
for a play or dance. Across all of the images there are some unusual recurring
characters; strange, black and white costumed, faceless creatures, just like
those from Death Disco Dance. They
are chess pieces, and they are brought to life in Sister Squares.
The Renowned Union Jackoff, 2013 |
Four monochromatic projections
are arranged as a grid on the gallery wall, and are musically accompanied by
dramatic flamenco, which drifts in to the surrounding gallery spaces. The video
contains more than just a hint of silent-movie aesthetics.
Two gentlemen sit down to a
chessboard on a deserted, rubble-strewn street and a game commences. The act
takes place in the bottom left projection, and aside from the occasional
cutaway, from this point on the projection rests mainly upon an animated
birds-eye-view of the chessboard, a diagram of the battle.
The three remaining projections cut
between the flamenco musicians at work, an audience of rattle-wielding,
white-masked spectators, their features oversized and frozen in state of
voyeuristic pleasure, and a dramatic dance battle with much posturing, and
eventually much spurting blood.
Sister Squares, 2012 |
The black and white chequered dance-floor is provides the perfect board for the chess-piece dancers. The
pawns (who we have met before) are spry, spotted ballerinas, the rooks are
relentlessly spinning circular robots and the queen is a sharp-edged monster
with triangular eyes and spiky hands.
As the game heads towards its
conclusion a black pawn is queened in a ritualistic coronation and the white
ballerinas advance towards her, side-on and on-point, to begin a formidably
elegant final fray. The match ends, however, with a macabre twist. An unknown
sniper-wielding gunwoman (who suspiciously, might be one of the black pawns)
assassinates one of the gentleman players before the game can be concluded. A
black pawn dances amongst the rubble of white pieces and takes a bow, and the
vacuous spectators wave their rattles triumphantly.
The Queen’s Head, 2012 |
Though the chess match will never
reach its endgame, the video succeeds as an ecstatic and eccentric
dramatisation of an on-board battle, pushing and pulling seamlessly between the
connotations of war, the internal dance of the chess match and the placid
players moving the pieces.
Upstairs in the gallery are
multi-coloured tin masks and hanging tin puppets, many more opulent
watercolours and a set of beautifully intricate, small-scale dioramas. Despite
the illustrative quality of the drawings, and the prop-like attributes of the
sculptures, they are quite evidently not just preparatory works for the video.
In their complexity and richness they provide a labyrinthine, theatrical
mythology that surrounds and buoys the video work, only adding to the sense of
an inexplicably cohesive yet completely unfathomable allegory at work in the space.
Travis Riley
Marcel Dzama
Sister Squares,
part of Puppets, Pawns, and Prophets
David Zwirmer, London W1
6 April – 11 May 2013
Image Captions:
The Renowned Union Jackoff, 2013. Ink, gouache, and graphite on paper. 17 x 14 inches (43.2 x 35.6 cm). Courtesy David Zwirner, New York/London.
Death Disco Dance, 2011. Video on monitors, 4 minutes, (loop), color, sound. Dimensions variable with installation. Courtesy David Zwirner, New York/London.
Sister Squares, 2012. Video on monitor, 13:55 min, black and white, sound. Dimensions vary with installation. Courtesy David Zwirner, New York/London.
The Queen’s Head, 2012. Ceramic and tin. Height: 23 inches (58.4 cm). Diameter: 14 inches (35.6 cm). Courtesy David Zwirner, New York/London.
No comments:
Post a Comment