Security guard, schoolgirl, Snow White … the artist who films herself undercover | Canada News Media
Connect with us

Art

Security guard, schoolgirl, Snow White … the artist who films herself undercover

Published

1 year ago

 on

What to do if a new colleague is over touchy feely when they greet you in the office? Or if a trainee sits staring into space all day doing “brain work”? Finnish artist Pilvi Takala specialises in orchestrating such awkward situations, in a mission to test how we navigate social conventions. “I think discomfort is a very productive space,” she says when we speak on Zoom before a show of her video installations, aptly titled On Discomfort. “It’s where we reassess and negotiate norms.”

Wearing a disguise and an assumed identity, Takala has upset the workings of theme parks, corporations, shopping malls and even the European parliament, exposing the tacit rules that govern our capitalist system. The videos of her in action are often funny. In Real Snow White, she tries and fails to get into Disneyland Paris dressed as the cartoon character. A guard says: “You cannot go to the park like this because the children will think you are Snow White. There’s a real Snow White in the park.” Takala replies: “I thought the real Snow White was a drawing.”

But Takala’s performances, videos and installations are underpinned by serious social inquiry. Her practice explores the shifting fault lines of what is considered acceptable behaviour and why, from the perspective of insider and outsider. In 2018’s The Stroker, where she pretended to be a wellness consultant at Second Home, a hip Hackney co-workplace for entrepreneurs, people were clearly conflicted about whether they were entitled to find her touchy greetings invasive; they increasingly gave her a wide berth as she passed. For 2008’s The Trainee, Takala was an intern for a month at the consulting firm Deloitte, where her apparent inaction – spending entire days either “thinking” or just going up and down in the lift – made her co-workers angry and frustrated, even though they themselves were frequently going through the motions of working while in fact browsing the internet. Both films reveal a progression of behavioural responses by workers who soon find non-conformity threatening and “weird”. “It’s very human to create these strict normative systems that we all follow and we feel in a way good when we’re inside,” says Takala, “but of course it’s mega oppressive.”

The artist’s performative interventions have become more complex over the past two decades. Where her early works often consisted of films of one-off performances, she has subsequently experimented with hidden cameras and re-enactment of actions that have taken place over days or weeks. Last year’s ambitious multi-channel video installation Close Watch was the result of six months working under cover as a security guard for Securitas at one of Finland’s biggest shopping malls. Presented at the Finnish pavilion for the 2022 Venice Biennale, it reflected on the opaque parameters of authority exercised by private companies over citizens. The films are presented in two rooms separated by a one-way police mirror, emphasising the unequal power dynamic of our surveilled existence.

Takala’s role at Securitas required four weeks of training. She was eventually outed two weeks before the end of her stint by colleagues who had Googled her. After she finished at the firm, Takala invited her former workmates to join her in workshops with specialised actors to role play problematic issues she had encountered on the job. The films of these workshops form the gripping centrepiece of the installation, showing the guards acting out and debating scenarios involving the use of excessive force by a colleague, toxic masculinity in the control room and the casual ubiquity of racist jokes.

In one particularly disturbing sequence, the group watches three actors re-enact a situation in which a guard manhandles a drunk member of public. In a lively discussion afterward, the guards are pretty much unanimous that loyalty to colleagues would take precedence over pursuing justice for a victim. But as they rationalise and wrestle with these dilemmas and their own accountability, they take on board different views. “We’re allowed to interfere with other people’s basic rights,” concedes one guard, adding, “It’s frighteningly easy to abuse. I’ve seen people work in this field only to hurt others.”

Observing this open dialogue within the safe space of the workshops is partly what makes Close Watch so powerful and moving; it feels like a constructive template for addressing similar problems in society at large, rather than simply rehashing well-worn criticisms of the underpaid and under-regulated security industry. That said, Takala hopes her work will have an impact on guarding at Securitas. “It’s not like we change everything and it’s happy ever after,” she says. “But I wanted to engage with this industry from a hopeful place.” The company has since instituted diversity and unconscious bias training for all employees, which may or may not be a result of suggestions she made after working there.

Takala’s infiltration of social communities began in 2004 while on an exchange at the Glasgow School of Art. She was struck by the coexistence of two self-contained groups – that of the Glasgow art students and that of the nearby Catholic girls’ school – whose different attire created a glass wall between them. She decided to investigate what would happen if she donned the school uniform, effectively switching tribes. “There’s a lot of heavy taboos hanging over this uniform, even though I wasn’t doing anything illegal or, to me, ethically problematic,” she says. Suddenly she found she was accepted by the pupils and ignored by her fellow art students. “I had the wrong dress code, I was invisible,” she explains. Her ruse was discovered when a teacher told her off for wearing the wrong scarf. The Glasgow School of Art was furious and failed her paper, but Takala remained adamant that the strong response to her action proved its success.

Since then Takala has put numerous social groupings under the microscope: she has played an overdressed wallflower at a traditional dance event in Estonia; carried a transparent bag full of cash around a shopping mall – to the consternation of shoppers and shopkeepers alike – and wandered around the European parliament in T-shirts printed with texts highlighting the institution’s inconsistent dress policy.

Does she ever get embarrassed? “I have those same feelings as anybody would in those situations, but they’re actually information for me that it’s working,” Takala says. Her social experiments involve intense emotional labour – “I get a lot of rejection,” she notes. But it’s exhilarating when she senses that something is working: “I feel like it’s very awkward. These people don’t like what I’m doing now. Great!”

 

Source link

Related Topics:
Continue Reading

Art

Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

Published

6 days ago

 on

September 13, 2024

By

In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

Continue Reading

Art

Ukrainian sells art in Essex while stuck in a warzone – BBC.com

Published

2 weeks ago

 on

September 2, 2024

By


[unable to retrieve full-text content]

Ukrainian sells art in Essex while stuck in a warzone  BBC.com



Source link

Continue Reading

Art

Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

Published

1 month ago

 on

August 18, 2024

By

The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

Source link

Continue Reading

Trending

Exit mobile version