Cindy Sherman:
Moment of Truth

2. June 2001 to 12. August 2001

Cindy Sherman : Moment of Truth

Since the last half of the 1970’s, Cindy Sherman has concerned herself with the staged photography, in which she has been using herself for long periods and with great imaginative power as a model. In others she has been working solely with props.

In Cindy Sherman’s famous series, Untitled Film Stills from the late 70’s the artist poses as if she were playing a part in imaginary B-films from the 1950’s. We do not know what these films are about; but a joint feature of these stills is that this women is clearly conscious of being watched, of being an object. We get the feeling that something is about to happen to her.

In the middle of the 1990’s, Cindy Sherman created a number of works in which layers of face and mask penetrate each other, and in which the person disintegrates the moment it is seized with the horror already latent in the Untitled Film Stills and which also manifest itself in a number of ways in Sherman’s works from the period in between. The pictures of dolls from the late 90’s also contain the same disintegrating horror, a chaos of limbs from Barbie and Ken and other symbols of contemporary physical and sexual ideals, but in a stylized and media-referential manner because of the black-and-white technique which refers back to the early Untitled Film Stills.

The exhibition included works from the series mentioned above as well as Cindy Sherman’s 1997 film, Office Killer, in which the artist’s fascination with horror and creepiness was taken to extremes — but, as in many others of her works, not without humour. Furthermore, a work from the series Murder Mystery People was shown which dates back to the mid-70’s but which was not published until last year. Even though it was a project which preceded Untitled Film Stills it constituted a kind of preliminary to Office Killer, which developed the same themes and the same characters and thus closed the ring more than 20 years later.