Unveiling Identities: The Cinematic Reimagination of Brice Dellsperger
Entering the “Jalousies” exhibition by Brice Dellsperger at the Dortmunder Kunstverein, one is immediately immersed in a vibrant exploration of the boundaries of cinema, both in terms of form and genre. The title “Jalousies,” with its French double meaning of “blinds” and “jealousy,” aptly reflects the dualities and layered interpretations presented throughout the exhibition.
The gallery setup for Brice Dellsperger’s “Jalousies” exhibition is an extraordinary manifestation of his intent to challenge and manipulate cinematic perception. Upon entering the exhibition space, one is immediately enveloped in an almost cinematic atmosphere, where the dominant color is a deep blue that permeates the entire environment. This color not only emphasizes the dramatic tone of the projected works but also creates an immersive atmosphere that captures and engages the viewer.
The projections are displayed on large screens that dominate the walls, creating a kind of immersive visual panorama. Each screen is positioned in such a way as to keep the visitor in a state of continuous discovery, compelling them to move and reorient themselves constantly within the space. The floor is covered with blue carpet, which enhances the immersiveness of the space and helps to muffle any noise, thereby reinforcing the contemplative silence that accompanies the viewing of the works.
At the center of the space, a metal spiral staircase adds an additional layer of architectural complexity. Its presence, along with the play of reflections created by the glossy surfaces of the projections, evokes the idea of a film set, transforming the space into a kind of stage where the viewer is simultaneously an observer and a protagonist. The seating, consisting of small cushions neatly arranged on the floor, invites one to pause, immerse oneself in the projections, and reflect on the relationship between the physical space and the one represented.
The setup, with its precise arrangement and deliberate use of space, manages to transform the gallery into a total sensory experience, where the boundary between reality and representation blurs and recomposes, much like in Dellsperger’s films. Every detail, from the choice of colors to the positioning of the screens, is designed to amplify the dialogue between the works and the space, offering visitors a deeply engaging and multisensory experience.
Dellsperger’s technique is rooted in the manipulation of iconic cinema scenes, reimagined from a queer perspective. This is evident in his ongoing series “Body Double,” particularly in the recent “Body Double 39” and “Body Double 40,” both on display. The artist’s approach involves reconstructing scenes with altered gender identities and casting choices, thereby challenging conventional narratives and subverting the original contexts. The use of mirrored masks in “Body Double 39” is a particularly striking visual metaphor for the exploration of duality and identity, further complicating the audience’s interaction with the characters.
The transition from Dellsperger’s earlier works to these recent pieces demonstrates a deepening of his exploration of gender fluidity and identity, while maintaining his distinctive approach to cinematic reinterpretation. While earlier works like “Eye Bags” relied on simpler forms of drag and reenactment, his more recent works incorporate more complex staging and editing, allowing for a more nuanced critique of the original material.
The exhibition also includes a series of gouache paintings that serve as a visual compendium of Dellsperger’s influences, ranging from pop culture icons to classic Hollywood scenes. These works provide a broader context for the video installations, revealing the depth of his engagement with visual culture and the ways in which he queers these familiar images.
The exhibition leaves a lasting impression, inviting reflection on how the artificial constructs of cinema can be both a mirror and a mask for the complexities of human identity.
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