Projection is a two-channel video installation exhibited in a dark, narrow room. The viewer is meant to stand or sit in the middle of the room in order to see the projections that alternate between opposite walls. Both videos present the artists, Andrea Fraser, in a black top and green tights sitting in an orange Jacobsen Egg chair in front of a dark background. The piece, completed in 2008, consists of 12 monologues and runs for 52 minutes on a continuous loop.
The core of Fraser’s artistic practice is institutional critique. Years of working in art have led Fraser to develop an ambivalent attitude towards the field. This ambivalence has evolved as her career has progressed and serves as the subject of much of her work. Her pieces are primarily performances that investigate the social and psychological aspects of the art world. Fraser questions what we want from art, not simply from the perspective of the artists but from that of the collector, student, curator, viewer, museum director, etc. Her investigations are rooted in appropriation, feminist theory, and Lacanian theory. Projection, completed in 2008, provides a synthesis of these interests.
Fraser’s work has evolved as performance through appropriation. In the 1990s she performed a series of pieces in which she would enact the role of different personas in the art world, such as docents, consultants or curators. The appropriation of the part was done not only for the sake of performance but also for the purpose of exploring and exposing the relationship between the role and the institution. In 2001 she conceived Kunst Muss Hangen in which she preformed a speech, word for word and gesture for gesture, that a drunk Martin Kippenberger gave in 1995. In juxtaposing the image of the young, attractive, female artist with that of the older, drunk, male artist Fraser questioned what we accept and expect from these personalities. Kippenberger’s influence on Fraser’s work is seen in the use of appropriation and more notably in the notion of character reinvention and the investigation of the social role of the artist.
The artist continued her exploration with Official Welcome (2001). In the piece Fraser performs a series of monologues as both the person introducing the artist, at a conference, opening or similar event, and then as the artist. The performance critiques the protocols, language, and tactics that are often used in this type of situation by both parties and explores how these relationships are negotiated in a social setting.
Projection’s foundation lies in Fraser’s highly controversial 2003 performance, Untitled. Through Untitled Fraser sought to explore the relationship between the artist and the art collector by sleeping with a collector who, after agreeing on a sum, had the act filmed. In essence the piece addresses what selling a work, an intimate part of the self, signifies for the artist. The work had a contentious reception that further fueled Fraser’s conflictive relationship with the art world. As a way to work through her doubts the artist began an intensive short-term psychoanalytic treatment that required the sessions to be videotaped. Fraser kept the tapes, transcribed them, and edited them into the 12 monologues in the form of a dialogue that became the script for Projection.
Fraser’s work has evolved as performance through appropriation. In the 1990s she performed a series of pieces in which she would enact the role of different personas in the art world, such as docents, consultants or curators. The appropriation of the part was done not only for the sake of performance but also for the purpose of exploring and exposing the relationship between the role and the institution. In 2001 she conceived Kunst Muss Hangen in which she preformed a speech, word for word and gesture for gesture, that a drunk Martin Kippenberger gave in 1995. In juxtaposing the image of the young, attractive, female artist with that of the older, drunk, male artist Fraser questioned what we accept and expect from these personalities. Kippenberger’s influence on Fraser’s work is seen in the use of appropriation and more notably in the notion of character reinvention and the investigation of the social role of the artist.
The artist continued her exploration with Official Welcome (2001). In the piece Fraser performs a series of monologues as both the person introducing the artist, at a conference, opening or similar event, and then as the artist. The performance critiques the protocols, language, and tactics that are often used in this type of situation by both parties and explores how these relationships are negotiated in a social setting.
Projection’s foundation lies in Fraser’s highly controversial 2003 performance, Untitled. Through Untitled Fraser sought to explore the relationship between the artist and the art collector by sleeping with a collector who, after agreeing on a sum, had the act filmed. In essence the piece addresses what selling a work, an intimate part of the self, signifies for the artist. The work had a contentious reception that further fueled Fraser’s conflictive relationship with the art world. As a way to work through her doubts the artist began an intensive short-term psychoanalytic treatment that required the sessions to be videotaped. Fraser kept the tapes, transcribed them, and edited them into the 12 monologues in the form of a dialogue that became the script for Projection.
In Projection Fraser plays the role of the patient and the psychoanalyst. Most of the conversation revolves around the patient’s involvement with art and her artistic struggle. The patient speaks of her vulnerabilities, shortcomings and disenchantments with while displaying an array of emotions including aggression, self-pity, insecurity and sadness. The psychoanalyst is always attentive and appears to control the conversation, her body language exhibits dominance, which contrasts strongly with the patient’s defensive poses.
The alternation of the screens activates the space in and more than one way. The viewer is required to physically react to the work by changing positions to see the videos. Additionally the way in which Fraser positions herself in the frame and frontally addresses the camera causes the viewer’s role to change from patient to psychoanalyst correspondingly. The viewer effectively becomes the psychoanalytic screen of projection for whoever is speaking.
The work can be interpreted as the struggle between the Id and the Superego that one’s subconscious is constantly engaged in. In this case the patient is the Id – the more emotional and impulsive entity, while the therapist is the Superego – the conscientious and guiding entity. One line in particular that exemplifies this interpretation is when the psychoanalyst says, “I’m asking you not to fidget, I’m asking you to endure this and not walk away.” These words are very paternalistic and dominant, as if the Superego is reasoning with the Id, explaining that at times difficulties must be endured if one wishes to progress. Similarly, both patient and therapist can be seen as components of the Superego, who undergo their own debate prior to deciding on the appropriate course of action. The piece is also a reference to Lacan’s mirror stage - the point when the infant identifies itself as an object outside of itself. In this case the work can be interpreted as the artist recognizing herself as such and creating distance in order to understand her purpose. Ultimately Projection aims at exposing the psychological machinations that serve as a blueprint for relationships around art to develop in a social context.
The alternation of the screens activates the space in and more than one way. The viewer is required to physically react to the work by changing positions to see the videos. Additionally the way in which Fraser positions herself in the frame and frontally addresses the camera causes the viewer’s role to change from patient to psychoanalyst correspondingly. The viewer effectively becomes the psychoanalytic screen of projection for whoever is speaking.
The work can be interpreted as the struggle between the Id and the Superego that one’s subconscious is constantly engaged in. In this case the patient is the Id – the more emotional and impulsive entity, while the therapist is the Superego – the conscientious and guiding entity. One line in particular that exemplifies this interpretation is when the psychoanalyst says, “I’m asking you not to fidget, I’m asking you to endure this and not walk away.” These words are very paternalistic and dominant, as if the Superego is reasoning with the Id, explaining that at times difficulties must be endured if one wishes to progress. Similarly, both patient and therapist can be seen as components of the Superego, who undergo their own debate prior to deciding on the appropriate course of action. The piece is also a reference to Lacan’s mirror stage - the point when the infant identifies itself as an object outside of itself. In this case the work can be interpreted as the artist recognizing herself as such and creating distance in order to understand her purpose. Ultimately Projection aims at exposing the psychological machinations that serve as a blueprint for relationships around art to develop in a social context.