video

Les fleur du mal as the third part of a series of work on Judith and La muse malade not only further awakening womanliness but at the same time expresses aggressiveness, mischievously wiped away with a wink of an eye by showing the artist eating grapes and finally flinging her magnificent hair on the ground.

video

In La muse malade, the person, by following the desires of her imperious self, rises and comes a little closer towards her femininity. Her boots are then cut. Although her legs do not reveal ‚bluestockings‘, all the same, a reference is made in the next scene in which a substance disappears from the lower body of the muse, creating the possibility for further associations.

video

The purpose of the video work Judith are procedures which by assigning mythology, historical characters and well-known behaviour patterns, sidestep to widespread metaphors which already present an interpretation.
The depicted types of women on which the actions are based upon, are stereotyped characters like Judith, whose personal dedication let Holofernes fall victim to a cruel act, regarded as an act of justice. Returning with his head on a plate, and considered as heralded heroine who liberated her people, she is commonly represented as a kindhearted person. Whilst she is aware of the brutality and racked by remorse, the holy aim exonerates her morally from any despicable crime and the sophisticated or cold-blooded execution remains a fascination. Her appearance oscillates between unclouded naivety and courage.
The artist´s gesture, the posture, emphasising certain details and body poses, showing and allowing other elements to disappear, can be conceived as a description of a naive little girl, worried about the purity of the head of a cabbage.

video

Five monitors positioned for the purpose of showing only one screen from any vantage point. The images shown on the screens of the stacking blocks, are based on five different sequences with a total of 48 plots. Given to the requested seriousness, the actress executes the various acts very carefully. Her gestures reminds us also of the childish imagination where her ideas take their course in finding the accurate use of the articles, which surround her. The scenery is limited by her small living area with a balcony offering a view into a wall of plants, a single-bedded room and a bathroom. She copies in her own pleasant way known behavioural patterns, but decides to transform them according to her intention by an alien combination of the used objects, which – regarded individually – are completely harmless and ordinary, but they create a worrying and disturbing atmosphere due to their alien use.

* in Lüdenscheid

lives and works in Leipzig

www.cindycordt.de

Rundgang 2012 Gott und die Welt Raumverschiebung