Aspects of the Self is a journey into one particularly fascinating facet of the work of this ground-breaking artist. The piece takes its inspiration from reports in the popular press of hallucinated visions on TV screens after end of broadcast.
In an interview, Hiller and Lacey Hiller refers to the biblical inference that the prophet Daniel was called in to interpret the signs on the wall rather that to read them as writing: Toward the end of the twenty minutes of tape, the image fades out in the same way in which it was produced in the beginning.
Some psychotherapists also employ the practice as a way to release repressed memories although there is no scientific evidence proving that trance writing has any therapeutic value. Susan Hiller at Tate Britain ran until 15 May The living room environment is familiar and humdrum, while the lapping flames and carefully lit installation encourage the viewer to see images in the shadows and the flickers of the screen.
When T was first installed at the Tate Gallery, Hiller remarked that it is her preference that it be exhibited in conjunction with other works of art, for example paintings or sculpturerather than in an enclosed space. They hold a pen which is said to move independently across the page and write out messages, usually from deceased persons or from unknown discarnate entities.
My version quotes newspaper reports of ghost images appearing on television, reports that invariably locate the source of such images outside the subjects who experience them.
The collection reveals the dramatic variations of colour tinting in the postcards, a process that required considerable ingenuity, since each image was tinted individually. In the case of Joseph Beuys these works span her whole career to date, having been begun inand continued until An arrangement of L-shaped frames featuring her automatic drawings, indecipherable hieroglyphs and automatic writing are wall-mounted alongside printed interpretive translations.
Some describe it as telepathic or psychic dictation, others say you enter into a hypnotic state and your intuition guide your hand. There are many famous automatic writers, such as a Swiss spirit medium named Helene Smith nee Catherine-Elise Muller a French psychic who invented an entire written language with which she claimed to be communicating with Martians.
The collages consist of enlarged cut-out sections of photographs Hiller took herself in an automatic photo-booth in London. The video section of the work, which was completed first, was made with the technical assistance of the film-maker and critic, Mick Hartney.
First, video allows for specific visual effects but, more importantly, as part of television technology it offers the possibility of establishing a critical circle in which an argument about television can in turn become part of television.
You also need to visually close and protect your chakras at the end, to keep from picking up psychic garbage. These vials are used as vessels for holy water, which Hiller collects by going on pilgrimages to holy springs and sites around the world. Hiller has also worked consistently on a revised notion of self- portraiture since the early seventies, making numerous works based on automatic booth photography, generally using her own image, unmediated by the conventions of portraiture.
On this occasion a large curved screen, of the sort sometimes seen in American houses, replaced the video monitors used previously. This is when your guides start to communicate, in my case the narrative will often change from the 1st to the 2nd person. When displayed, each perspex panel is laid over a separate sheet of acetate on which Hiller has executed a free calligraphic drawing.
Overwhelmed with stimuli, the participant can only focus on certain aspects.
Nowadays we watch television, fall asleep and dream in front of the set as people used to by their fireside. Acclaimed as one of the most influential artists of her generation, Hiller has developed over the past forty years a practice that continuously questions belief systems and the production of meaning.
Aspects of the Self focuses on key pieces from the 70s and 80s, some already iconic such as the installations 10 Months and Monument Foreign Versionand others rarely exhibited such as Bad Dreams. For this particular installation, Hiller responded to the gallery space allocated and she has confirmed that future installations may be slightly adjusted to suit different spaces Hiller and Laceyp.
When originally exhibited at Gimpel Fils, the video monitor not a part of the work but the central focus of the installation was free standing, the twelve arrangements of cut out coloured photographs were fixed directly to the wall, and ink and pencil scripts were drawn on the wall behind the monitor.Hiller also extends intellectual irony to her experience of automatic writing in the Sisters of Menon.
“ I certainly didn’t want to leave it [automatic writing] in the wonderful realm of the occult, although it’s an area I’ve always been ironically in love with.”.
This book is the most thorough and up-to-date survey of the work of Susan Hiller, one of most influential artists of her generation. Moving fluidly between film, audio, video, and projection, and drawing on found materials such as wallpaper, postcards, and audio interviews, Hiller’s large-scale installations have done much in recent decades to.
Mar 30, · Messages from Beyond: What’s Wrong with Automatic Writing? Posted on March 30, by Susan Brinkmann. Another famous automatic writer was Jane Roberts, a psychic and spirit medium who claimed to be channeling a spirit named Seth who imparted all the wisdom of the universe to her which she shared with the rest of.
> Susan Hiller, The Sisters of Menon. Regarding her easy transition from telepathy art experiment to automatic writing, Hiller sees these works, and her work in general, as part of her exploration of transmission of images and ideas, and her refigured notions of ‘the divided self.’ Hiller has a strong sense of art historical links.
Aspects of the Self 12 Feb — 26 Mar at the Motinternational Gallery in Brussels, Belgium portraits produced in automatic photo booths in the 70s are displayed alongside greatly-enlarged versions combined with Hiller's automatic writing. In Bad Dreams (), red velvet curtains open to reveal Photomat portraits and.
SPLIT HAIRS: THE ART OF ALFIE WEST Hardbound: 32 pages, fully illus. Publisher Text: Susan Hiller & David Coxhead, co-authors.Download