// Alba D'Urbano
//
Main;
Projects() {
Rosa
Binaria();
Esposizione Impraticabile();
Mare();
Der negierte Raum();
Hautnah();
Touch Me;
Stoffwechsel;
Il Sarto Immortale();
Die Wunderschöne Wunde;
Tra cielo e terra;
L'età dell'oro();
Venere;
Private Property();
Monitoraggio;
corpo_insegnante();
Natura Morta(); Redden/Erröten; Son_no;
Airbag;
}Esposizione Impraticabile();
Mare();
Der negierte Raum();
Hautnah();
Touch Me;
Stoffwechsel;
Il Sarto Immortale();
Die Wunderschöne Wunde;
Tra cielo e terra;
L'età dell'oro();
Venere;
Private Property();
Monitoraggio;
corpo_insegnante();
Natura Morta(); Redden/Erröten; Son_no;
Airbag;
Collaborations();
Net-Works();
History();
Imprint;
Airbag;
//Video
//2006-2009
Mirros and cameras – in this case a video camera – are the tools of self-reflection which the artist applies in her work. Following a traditional subject, which has found ever new and alternative figurations in the history of Western art – from Parmigianino’s “Self-portrait in a Convex Mirror” (1523) to Claude Cahun’s “Self-portrait (reflected in mirror)” (1928) or Francesca Woodman’s “Self-Deceit 1” (1978), to name only a few – the artist scans her reactions on a reflecting surface and records them analytically, as part of the process of self-reflection, with a camera.
Excerpt from the video
The soundtrack opens up a further narrative level, the loud noise of the motor is partly drowned out by the car radio: two texts from audio books can be heard, fragmented, repeatedly interrupted: a brief passage from “Psychopolis” by Ian McEwan, which associates the discomfort in the interior of a car with blood and shame, and two text fragments from the book “Verbrecher und Versager” (“Criminals and Failures”) by Felicitas Hoppe, which hold the promise a narrative, yet do not deliver; they fail the crime...
* “Polar Inertia” Paul Virilio, London: Sage 1999.