Stan Douglas discusses his work Doppelgänger (2019) on the occasion of the work’s United States premiere. This new video installation conjures Douglas’s longstanding interests in doubling, alternate histories, and technologies of seeing, through the lens of quantum entanglement and science fiction.
See Doppelgänger at 537 West 20th Street, opening January 16
Stan Douglas: Doppelgänger
January 16—February 22, 2020
David Zwirner is pleased to present Doppelgänger, a video installation by Stan Douglas, on view at the gallery’s 537 West 20th Street location in New York. Debuted at the 2019 Venice Biennale, May You Live in Interesting Times, this ambitious work will be exhibited for the first time in the United States. Doppelgänger will concurrently be on view at Victoria Miro, London, opening on January 31.
Since the late 1980s, Douglas has created films and photographs—and more recently theater productions and other multidisciplinary projects—that investigate the parameters of their mediums. His ongoing inquiry into technology’s role in image-making, and how those mediations infiltrate and shape collective memory, has resulted in works that are at once specific in their historical and cultural references and broadly accessible.
Doppelgänger is set in an alternative present. Displayed on two square-format, translucent screens, each of which can be viewed from both sides, the looped narrative unfolds in side-by-side vignettes that depict events on worlds that are light years apart. When one spacecraft embarks on its journey, another is launched at the same time in a parallel reality. Alice, a solitary astronaut, is teleported to a distant planet, and her double to another. Then, Alice and her ship, the Hermes II, for unknown reasons, return. Alice assumes her mission has failed and she has somehow returned home, but she has, in fact, arrived at a world where everything, from writing to the rotation of the sun, is literally the reverse of what she once knew.
Image: Stan Douglas, still from Doppelgänger, 2019
May 11– November 24, 2019
Njideka Akunyili Crosby, Carol Bove, and Stan Douglas were included in the 58th International Art Exhibition – La Biennale di Venezia. Curated by Ralph Rugoff, Director of the Hayward Gallery in London, the exhibition was titled May You Live in Interesting Times. "In a speech given in the late 1930s," Rogoff states, "British MP Sir Austen Chamberlain invoked an ancient Chinese curse that he had learned of from a British diplomat who had served in Asia, and which took the curious form of saying, 'May you live in interesting times.' 'There is no doubt that the curse has fallen on us,' Chamberlain observed. 'We move from one crisis to another. We suffer one disturbance and shock after another.' This summary sounds uncannily familiar today as the news cycle spins from crisis to crisis. Yet at a moment when the digital dissemination of fake news and 'alternative facts' is corroding political discourse and the trust on which it depends, it is worth pausing whenever possible to reassess our terms of reference. In this case it turns out that there never was any such 'ancient Chinese curse,' despite the fact that Western politicians have made reference to it in speeches for over a hundred years. It is an ersatz cultural relic, and yet for all its fictional status it has had real rhetorical effects in significant public exchanges. At once suspect and rich in meaning, this kind of uncertain artefact suggests potential lines of exploration that are worth pursuing at present, especially when the 'interesting times' it evokes seem to be with us once again. Hence the 58th International Art Exhibition of La Biennale di Venezia will be titled after a counterfeit curse.... in an indirect fashion, perhaps art can be a kind of guide for how to live and think in ‘interesting times.’ The 58th International Art Exhibition will not have a theme per se, but will highlight a general approach to making art and a view of art’s social function as embracing both pleasure and critical thinking. The Exhibition will focus on the work of artists who challenge existing habits of thought and open up our readings of objects and images, gestures and situations. Art of this kind grows out of a practice of entertaining multiple perspectives: of holding in mind seemingly contradictory and incompatible notions, and juggling diverse ways of making sense of the world."
Image: Arsenale, Venice. Photo by Andrea Avezzù. Courtesy La Biennale de Venezia
Christopher Phillips gave a guided tour at the gallery of Stan Douglas: DCTs and Scenes from the Blackout. The exhibition presented works from Douglas’s two recent series, DCT (2016–ongoing) and Blackout (2017), that together illustrate the artist’s overarching interest in the nature of photographic representation and its relationship to reality.
Friday, April 6, 5 PM
525 West 19th Street, New York
Christopher Phillips is guest curator at The Walther Collection and adjunct professor in the Department of Photography and Imaging at Tisch School of the Arts, New York University. He contributed a text to Stan Douglas: Midcentury Studio, published on the occasion of Douglas’s tenth solo presentation at David Zwirner in 2011.
This guided tour coincided with The Photography Show presented by the Association of International Photography Art Dealers (AIPAD).
February 16, 2018
Anthology Film Archives in New York showed Stan Douglas’s early works Television Spots (1987–1988) and Monodramas (1991) as part of a new screening series called ON THE AIR: ARTIST TELEVISION.
Curated by Rebecca Cleman from Electronic Arts Intermix (EAI) and Ava Tews at Anthology Film Archives, the February 16 program of ON THE AIR presents works created by artists for public television, and also includes films by Ernie Kovacs, Lynn Hershman Leeson, Chris Burden, Dara Birnbaum, and others. The series is being presented in conjunction with the exhibition Broadcasting: EAI at ICA at the Institute of Contemporary Art in Philadelphia (February 2–March 25, 2018).
Douglas’s Television Spots were originally made to be inserted in fifteen- to thirty-second-long slots between the advertisements on a private Canadian television network. The twelve short video sequences were shown on a nightly basis and without any introduction, and feature narrative fragments unfolding in ordinary or banal settings. Similarly, the artist’s Monodramas feature brief, dislocated events—a car and a school bus nearly collide at an intersection, only to drive away; a pedestrian on the street greets an Afro-Canadian man who responds, "I’m not Gary."
As the artist told Roxana Marcoci in an interview after winning the Hasselblad Foundation International Award in Photography in 2016, "Early projects like the Television Spots and Monodramas were all about an alienation effect, putting an irritant into broadcast television by means of these counterfeit advertisements to make people look at the context around the ads in a different way."
Image: Stan Douglas, still from Monodramas, 1991
Stan Douglas was the recipient of the 2016 Hasselblad Foundation International Award in Photography. In celebration of the honor, an exhibition of Douglas's work was presented at the Hasselblad Foundation, Gothenburg, Sweden. The exhibition was his first in the country and featured new abstract works, as well as an overview of past series and key iconic photographs.
In addition, MACK published a new book about Douglas's practice. The publication features a newly commissioned essay by Noam Elcott, Associate Professor at Columbia University, as well as an interview with Stan Douglas by Roxana Marcoci, Senior Curator at Museum of Modern Art, New York and Chair of the 2016 Hasselblad Award Jury.
Roxana Marcoci, Senior Curator of Photography at MoMA, New York and Chair of the 2016 Hasselblad Award Jury, says of Douglas's work:
Douglas's engagement with the histories of still and moving images, sociological approach to staged and performative work, and critical attention to the apparatus of photography—in terms of historic styles, processes and vintage equipment, and the most sophisticated digital languages of contemporary technology—are transformational.
Pictured above: Selected works from the Hasselblad exhibition
Stan Douglas's innovative stage presentation Helen Lawrence was created in collaboration with screenwriter and producer Chris Haddock and director Kim Collier. Inspired by post-war Film Noir, Helen Lawrence intertwines theatre, visual art, live-action filming and computer-generated recreations of historical backgrounds in a groundbreaking multi-media showcase.
Since the inaugural presentation at The Arts Club Theatre Company, Vancouver in March 2014, Helen Lawrence has been hosted by the Münchner Kammerspiele, Munich; Edinburgh International Festival; Canadian Stage, Toronto; Brooklyn Academy of Music, New York; and deSingel, Antwerp.
Douglas also created Circa 1948, an app that presents interactive digital environments from late 1940s Vancouver. These environments—The Hotel Vancouver and Hogan's Alley—are also settings in Helen Lawrence.
The artist discussed the app (and his practice generally) in The Guardian saying: "Because of technology, nobody believes any more that a photograph is real. But that just means that we have to take more responsibility as creators of images. We can’t just say, 'Oh, this happened to be there when I was there.' You have to take ownership. It’s always a construction, no matter what."
A conversation about collaboration and the obsessive power of good music—touching on Netflix, Kendrick Lamar, and what it’s like to play with Miles Davis.
In the third episode of Dialogues: The David Zwirner Podcast, photographer and multimedia artist Stan Douglas speaks with MacArthur Award–winning pianist and composer Jason Moran—currently Artistic Director for Jazz at the Kennedy Center—about making and experiencing art. These longtime friends and collaborators discuss what it means to awaken ideas through the language of improvisation and exceed viewer expectations.
See Douglas’s work in Shape of Light: 100 Years of Photography and Abstract Art at Tate Modern, London, and I Was Raised on the Internet at the Museum of Contemporary Art Chicago, both on view through October 14, 2018. Watch Jason Moran perform with saxophonist Charles Lloyd on August 4 and 5 at the Newport Jazz Festival in Rhode Island. For tickets and more information visit newportjazz.org.
Produced in partnership with Slate Studios, Dialogues: The David Zwirner Podcast is the latest installment in a series of initiatives celebrating the gallery’s twenty-fifth anniversary, which launched in January 2018 with a multi-gallery retrospective in New York and the opening of David Zwirner Hong Kong. "While this year marks an important milestone for the gallery, we continue to look and move forward, whether it be opening a new gallery or exploring new mediums," says David Zwirner. "This is one of the many digital initiatives we are embarking on, to both engage with new audiences and further our artists’ voices." Dialogues: The David Zwirner Podcast is available on Apple Podcasts, Google Play Music, Stitcher, and most major podcast applications. #DZDialogues
Image: Stan Douglas, Lucas Zwirner, and Jason Moran recording Dialogues in New York, 2018. Photo by Zac Casto