The Making of Monster

1996 - Film & Video (Film & Video)

7 min 28

Douglas Gordon

location: Berlin, Germany
year born: 1966
gender: male
nationality: Scottish
home town: Glasgow, United Kingdom

In Monster (1996-97), the artist’s face becomes grotesque through the application of strips of transparent adhesive tape, typical of Gordon’s performance-based films that often depict his own body in action. Also characteristic of his work, the scene takes place in front of a mirror, suggesting the kind of personal self-reflection that one is capable of – both good and evil. The video makes clear cinematographic reference to the ‘alter-ego’ transformation in Mamoulian’s Dr. Jekyll and Mr. Hyde, and to the “You looking at me?” sequence performed in front of a mirror by Robert De Niro in Scorsese’s Taxi Driver which also inspired Gordon’s through a looking glass ( 1999).


Douglas Gordon is a celebrated Scottish artist whose work revolves around the themes of memory, time and our perception of it. Spanning across film, video, installation, photography, and sculpture, his work offers a new experience of the cinematic in the space of contemporary art, creating what critic Dominique Païni described as ‘exhibition cinema.’ Interested in how we experience temporality, Gordon has often slowed down either original or appropriated footage in order to play with the viewers’ perception. An example is his celebrated work 24 Hour Psycho (1993) , in which Gordon stretched the duration of Alfred Hitchcock’s iconic movie to last 24 hours. This gesture both monumentalized time and intensified the imagery, structurally reframing the film by shifting our perception away from the movie’s original narrative and directing it towards the finer details that constitute every single frame. Several of his works incorporate that universal dichotomies: of life and death, innocence and guilt, and dual identities. Harboring the tension between opposing forces, Gordon then employs formal strategies of repetition, mirroring, and doubling to construct a deliberate ambiguity and multiplicity of meaning.


Colors:



Work No. 299
© » KADIST

Martin Creed

2003

This photograph of Martin Creed himself was used as the invitation card for a fundraising auction of works on paper at Christie’s South Kensington in support of Camden Arts Centre’s first year in a refurbished building in 2005...

Martin Creed | The Dick Institute
© » TATE EXHIBITIONS

Martin Creed

Martin Creed | The Dick Institute Experience the work of one of this country’s most ingenious, audacious and surprising artists at the Dick Institute ARTIST ROOMS Martin Creed presents highlights from the British artist’s thirty-year career...

Perro en Tlalpan (Dog in Tlalpan)
© » KADIST

Gabriel Orozco

1992

Gabriel Orozco often documents found situations in the natural or urban landscape...

No Title
© » KADIST

Félix González-Torres

1992

Behind the simplicity and beauty of this untitled photograph of a brilliantly-colored flowerbed by Félix González-Torres are two remarkable stories of love, loss, and resilience...

Pasajes I
© » KADIST

Sebastián Díaz Morales

2012

Pasajes I is the first in a series of Sebastián Díaz Morales’s four videos Pasajes , which focuses on a solitary man walking through Buenos Aires...

AIDS Sculpture By General Idea Finds Permanent Home In Amsterdam Park
© » ARTLYST

General Idea

Following its display at the General Idea retrospective in Stedelijk Museum Amsterdam The post AIDS Sculpture By General Idea Finds Permanent Home In Amsterdam Park appeared first on Artlyst ....

Our love is like the Flowers, the Rain, the Sea and the Hours
© » KADIST

Martin Boyce

2003

In the installation Our Love is like the Flowers, the Rain, the Sea and the Hours, Martin Boyce uses common elements from public gardens – trees, benches, trashbins– in a game which describes at once a social space and an abstract dream space...

Perpetual Motion Two
© » KADIST

Diana Thater

2005

In Perpetual Motion (2005) the seemingly erratic flight of the bright orange Monarch butterfly—filmed in its winter habitat of Michoacán, Mexico—is intensified by the artist’s editing in which frames are randomly dropped and the film is sped up...

Untitled
© » KADIST

Martin Kippenberger

1989

Untitled is a work on paper by Martin Kippenberger comprised of several seemingly disparate elements: cut-out images of a group of dancers, a japanese ceramic vase, and a pair of legs, are all combined with gestural, hand-drawn traces and additional elements such as a candy wrapper from a hotel in Monte Carlo and a statistical form from a federal government office in Wiesbaden, Germany...

Baobab
© » KADIST

Tacita Dean

2001

The photographic quality of the film Baobab is not only the result of a highly sophisticated use of black and white and light, but also of the way in which each tree is characterized as an individual, creating in the end a series of portraits...

Absentia
© » KADIST

Tony Oursler

2012

Continuing Oursler’s broader exploration of the moving image, Absentia is one of three micro-scale installations that incorporate small objects and tiny video projections within a miniature active proscenium...

Pipe Opening
© » KADIST

Jeff Wall

2002

As suggested by its title, Pipe Opening (2002) depicts a hole in a wood wall exposed by the removal of a pipe...

Black Star Press
© » KADIST

Kelley Walker

2004

The triptych Black Star Press is part of the series ‘The Black Star Press project’ initiated in 2004 by the American artist Kelley Walker...