{"id":11830,"date":"2013-12-20T12:30:03","date_gmt":"2013-12-20T11:30:03","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=11830"},"modified":"2013-12-20T12:30:03","modified_gmt":"2013-12-20T11:30:03","slug":"the-iron-lady-no-more","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/the-iron-lady-no-more\/","title":{"rendered":"The Iron Lady No More"},"content":{"rendered":"

\"\" Ursula Mayer, Valentijn & JD (detail), 2013. C-Print, 42 x 29.6 cm, framed. Courtesy the artist. Copyright Margaret Salmon<\/p>\n

Urusla Mayer explores gender and identity in a time of fluidity and collapse<\/strong><\/p>\n

\u201cBut we loved her\u201d read a banner held up by an elderly man, pictured on the front page of a\u00a0British newspaper on the day of Margaret Thatcher\u2019s funeral. Borrowing this for the title of a\u00a0major show in her native Austria, Ursula Mayer employs the suggestive ambiguity of the statement\u00a0to form the underlying mood of uncertainty that inhabits her investigation of postcapitalist social conditions. The splintered possibilities spawned from neoliberal thought, the radical egoism\u00a0 propagated by Ayn Rand\u2019s school of Objectivism, the influence of Rand\u2019s ideas on world leaders like Reagan and Thatcher, the prevailing social effects of Thatcherism, as well as formal and theoretical ideas from experimental cinema all feed into Mayer\u2019s constructed cinematographic\u00a0space, where nothing is binary and everything is fluid.<\/p>\n

Occupying the 21er Haus\u2019 entire ground floor, the show consists of three films, as well as a central installation and a collection of objects behind display glass. The film \u201cGonda\u201d (2011), adapted from Rand\u2019s play \u201cIdeal\u201d by writer Maria Fusco, explores the subjective notion of seduction, appeal\u00a0and desire. Featuring all-androgynous actors, its main character is played by Dutch transgender model Valentijn de Hingh, and the film\u2019s highly stylised scenes where gestures are stronger than narrative, advance feminist film theorist Patricia McCormack\u2019s idea of \u201cCinesexuality\u201d, which argues that spectatorship in itself is inherently queer. The film \u201cMedea\u201d (2013) is shot on the actual location of Pasolini\u2019s 1969 version, and stars queer icon JD Samson, of the band MEN and Le Tigre (Maria\u00a0Callas starred in Pasolini\u2019s film). Myth and artefact help to thicken the plot, as characters don objects that can either be jewellery or torture tools. Minerals, water and other elements give the scenes an earthly weight.<\/p>\n

The space between the screening niches, in the centre of the ground floor, is where the two main characters meet. Mayer photographed Samson and de Hingh inside the monumental, bio-mechanical sculptures of Austrian artist Bruno Gironcoli, who in turn attempted to produce a contemporary image of the human body in his work from the 1960s onward. Labyrinthine and fluid but not elusive, the show looks at the impermanence of gender, and by extension, the pliability of identity and the body to point at new freedoms available today. This is, however, contrasted by the contemporary human condition where social and political systems are imploding in various ways\u00a0around the world, but no real alternatives seem to materialise.<\/p>\n

Ursula Mayer, “But We Loved Her”, is at 21Haus, Vienna, until 12th January 2014<\/strong> www.21erhaus.at<\/a><\/strong><\/p>","protected":false},"excerpt":{"rendered":"

Ursula Mayer, Valentijn & JD (detail), 2013. C-Print, 42 x 29.6 cm, framed. Courtesy the artist. Copyright Margaret Salmon Urusla Mayer explores gender and identity in a time of fluidity and collapse \u201cBut we loved her\u201d read a banner held up by an elderly man, pictured on the front page of a\u00a0British newspaper on the…<\/p>","protected":false},"author":1,"featured_media":11833,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_kad_post_transparent":"","_kad_post_title":"","_kad_post_layout":"","_kad_post_sidebar_id":"","_kad_post_content_style":"","_kad_post_vertical_padding":"","_kad_post_feature":"","_kad_post_feature_position":"","_kad_post_header":false,"_kad_post_footer":false,"_kad_post_classname":"","footnotes":""},"categories":[11856,139],"tags":[579,38,816,115,1106,1063,1107,581],"class_list":["post-11830","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-sleek-art","category-art","tag-21er-haus","tag-art","tag-art-edits","tag-hili-perlson","tag-krobath","tag-sleek-40","tag-ursula-mayer","tag-vienna"],"acf":{"main_category":null,"legacy":"1","exclude_from_ads":null,"hero_title":null,"subtitle":null,"hero":null,"teasers":null,"facebook_image":null,"related_articles":null,"next_article":null,"sleek_card_focus":null,"content":null},"yoast_head":"\nThe Iron Lady No More The Iron Lady No More<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/the-iron-lady-no-more\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Iron Lady No More The Iron Lady No More\" \/>\n<meta property=\"og:description\" content=\"Ursula Mayer, Valentijn & JD (detail), 2013. 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