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Collection highlights
The fictitious movie posters by Liina Siib are based on photographs taken in different parts of the world and supplemented by attributes designed according to all the rules of the motion picture industry, from the film title to the name of the production company. Only on more careful inspection of the posters, that at first sight seem very real, we notice disturbing elements where the artist has taken a step too far for us not to suspect fraud. Unlike in conventional media practice where one attempts to show an illusion as ‘realistically' as possible, these pictures that in fact are not staged are here presented as such. In a similar way that we could all take a photograph from our own album and become stars, cover girls and heroes and enter this desirable world that does not exist. The fact that most of the pictures show women (a subject used to attract the audience, a target group for the film industry and also the author's personal object of interest) and that the ‘directors' and ‘producers' are mostly men, invites us to look for feminist references. Nevertheless, Siib is not a feminist calling people to the barricades, but rather an ‘external observer', an on-looker without any sentiment in her eye.* The contact with the viewer is being achieved primarily through joy of recognition, identification, memory images and fantasy games that feed on stereotypes and subsist on idealisation.** Anu Allas * Heie Treier, Ihad ja kujutelmad. Liina Siibi plakatid fiktiivsetele filmidele. - Vikerkaar, 2002, 7, p. 60. ** Eha Komissarov, Liina Siib. Filmist välja tagauste kaudu. The booklet of Liina Siib's exhibition "Klips!" in Hansapank Gallery, 24.07.-24.08.2002.

Liina Siib
Charmingly in Charge

 
Artist: Liina Siib (1963 - )
Title: Charmingly in Charge
Date: 2001
Technique:
Material:
photomontage, inkjet print
paper mounted on kapa board
Height (cm): 105.0
Width (cm): 68.0
Description: The fictitious movie posters by Liina Siib are based on photographs taken in different parts of the world and supplemented by attributes designed according to all the rules of the motion picture industry, from the film title to the name of the production company. Only on more careful inspection of the posters, that at first sight seem very real, we notice disturbing elements where the artist has taken a step too far for us not to suspect fraud. Unlike in conventional media practice where one attempts to show an illusion as ‘realistically' as possible, these pictures that in fact are not staged are here presented as such. In a similar way that we could all take a photograph from our own album and become stars, cover girls and heroes and enter this desirable world that does not exist. The fact that most of the pictures show women (a subject used to attract the audience, a target group for the film industry and also the author's personal object of interest) and that the ‘directors' and ‘producers' are mostly men, invites us to look for feminist references. Nevertheless, Siib is not a feminist calling people to the barricades, but rather an ‘external observer', an on-looker without any sentiment in her eye.* The contact with the viewer is being achieved primarily through joy of recognition, identification, memory images and fantasy games that feed on stereotypes and subsist on idealisation.**

Anu Allas

* Heie Treier, Ihad ja kujutelmad. Liina Siibi plakatid fiktiivsetele filmidele. - Vikerkaar, 2002, 7, p. 60.
** Eha Komissarov, Liina Siib. Filmist välja tagauste kaudu. The booklet of Liina Siib's exhibition "Klips!" in Hansapank Gallery, 24.07.-24.08.2002.

Related categories: Contemporary Art
Copyright notice: Art Museum of Estonia
AME collection: Contemporary Art Collection
Collection number: FV 133
Accretion number: EKM j 49605
Muis reference http://muis.ee/museaalView/427267
File info: Source type: digital photography
File type: TIF
File size: 82.99MB
Resolution: 4219*6873px @ 300dpi
 
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