[no title] by Victor Burgin

[no title] 1991

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Dimensions: image: 756 x 951 mm frame: 795 x 991 x 23mm

Copyright: © Victor Burgin | CC-BY-NC-ND 4.0 DEED, Photo: Tate

Curator: Victor Burgin, born in 1941, created this untitled piece; its layered imagery invites a close look. What's your first impression? Editor: Ghostly. Like peering into a dream, or maybe a memory struggling to surface. There's something about the superimposition that unsettles me. Curator: Indeed. Burgin is known for exploring the relationship between photography, psychoanalysis, and semiotics. The overlapping images here create a dialogue around representation and perception. Editor: It feels like he's asking us to question what's real, or perhaps how our minds construct reality. That angel statue…is it a symbol, a fragment of a story? Curator: Possibly both. Angels often appear in art to deliver messages. By placing it within a cityscape, Burgin might be commenting on the intersection of the sacred and the mundane within urban spaces. The layered effect almost simulates how memories often overlap and blur together. Editor: It's beautiful and haunting. I find myself wanting to decipher every layer, to understand the whole story, even though I know that might be impossible. Curator: Precisely. Perhaps the point is not to find one definitive answer, but to embrace the ambiguity and engage in our own interpretation.

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tate about 2 months ago

http://www.tate.org.uk/art/artworks/burgin-no-title-p77515

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tate about 2 months ago

'Fiction Film' is based on 'Nadja', a book published in 1928 by André Breton, the founder of the Surrealist movement. 'Nadja' tells the true story of Breton's brief but passionate affair with a mysterious woman whom he first met on a Paris street. He found Nadja the spontaneous and unaffected embodiment of those attitudes to the world which the Surrealists were self-consciously cultivating. Much of the book is set on the streets of Paris. Burgin has stated: 'I wanted a sense of the repetitious street-walking in all this finding, losing, pursuing and refinding of Nadja, as she herself wanders aimlessly the streets of Paris'. The prints are conceived as though they were remnants of a lost film of 'Nadja'. Gallery label, August 2004