Eve Sussman
United Kingdom, 1961
Eve Sussman (London, 1961) attended Robert College in Istanbul and studied at the University of Canterbury in New Zealand and Bennington College in Vermont. Based in Brooklyn, her first solo exhibition was at Bronwyn Keenan Gallery in SoHo, New York, in 1997, where she presented herself as a sculptor or installation artist. The relationship between her pieces and spectators slowly became more theatrical and she started working with choreographer Cláudia de Serpa Soares to focus increasingly on purely filmic aspects. Since the middle of the first decade of the 21st century she has produced complicated film pieces together with the Rufus Corporation, a group of performers, artists and musicians. The trilogy of works that have made her famous started in 2004 with 89 Seconds at Alcázar, which re-enacts the scene in Velázquez’s Las Meninas. In 2007 she made The Rape of the Sabine Women, which portrayed the myth of the founding of Rome based on Jacques-Louis David’s Neoclassical painting. This series culminated in 2011 with whiteonwhite: algorithmicnoir. Here the starting point was Kazimir Malevich’s 1918 painting of the same name, the founding myth of the death of painting in the historical avant-gardes. Produced in collaboration with the online magazine Triple Canopy, it was filmed in the port of Aktau, in Kazakhstan, near the Baikonur Cosmodrome, centre of operations for the Soviet space agency. Set in the fictitious City A with a conspiracist storyline about the surveillance of scientific experiences by a regime that also has shades of the capitalist system, it is retrofuturist in style with stripped-down architecture and geometric perfection. The failed side to the apparent formal utopia is revealed in its social implications through a narrative that makes use of the blurred hyperreality of the digital age: the film is a thread in which thirty hours of sequences are edited live at random by a computer using an algorithmic of tags and no sequence is repeated in each new screening, as if produced by a “serendipity machine.” The artist has defined her project as “archival footage from the future.”
Manuel Segade

Artworks by the artist included in the Collection Artworks by the artist included in the Collection

  • whiteonwhite: algorithmicnoir / 2009 -