Raphaela Vogel, 2012/2019

Psychogräfin

Raphaela Vogel’s title encapsulates both the playfulness and the agenda of this work: it alludes to a psychological state, but also suggests an authorial, ennobling condition for a woman – the German “Gräfin” translates as countess.

A figure in a darkened room, who seemingly shoots herself from below. Next, a close-up superimposed to a grid: she pins up her long hair, as a light strip moves upward across a glass pane of what seems to be a common flatbed A3-scanner device. Is that still her, the countess’ visage we see on the scanner screen, or is it the reflection of a video rendering? Or, is she instantaneously scanning the video? Is the video scanning the film scanning the psycho-countess-self scanning?

The mirror effect, which structures Psychogräfin, echoes a celebrated formula by Rosalind Krauss. In 1976, she had argued that video is a medium of self-absorption, which urged her “towards the psychological model” to describe video and gave rise to the central question: “The medium of video is narcissism?” She coined a strong simile for (performing) artists’ video: a body centered between two appliances that act as parenthesis: “The first of these is the camera; the second is the monitor, which re-projects the performer’s image with the immediacy of a mirror.” – Elena Zanichelli

Register (FL//056)

Psychogräfin
Raphaela Vogel
2012/2019
10/40+10
1 channel video, color video, stereo audio
720px x 540px, 16'50"

Fluentum uses cookies to improve the functionality, performance and security of this site. Your consent is necessary if you want to use the full functionality of this site. More information on the use of cookies by Fluentum, your consent and your privacy rights can be found in our privacy policy.