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extension#28 Masquerade installation
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MASQUERADE (2015)

Is a multiple-screen video installation by Vermeir & Heiremans

The installation can be presented in a different constellation. In Bruges Triennial (2015) MASQUERADE was presented in the green key film set in which the scenes where shot. The installation consists of the following elements.

FLATSCREEN 1

A Frontier Investment Opportunity

Is a publicity clip, which visualises the artists' art house unfolding as many houses with a view on different global skylines, all of them related to unique sites in the world where they have produced or presented their work. The video promotes Art House Index as a virtual global investment opportunity, and offers a projection of the underlying value of the index.

Preview of the short publicity clip on Vimeo: https://vimeo.com/77031534

FLATSCREEN 2

Art House Index AHI

Is a new 'extension' that proposes the transformation of the home as an artwork into a financial tool. A financial index measures the performance of a specific part of the economy i.e. Dow Jones, S&P500, BEL20... The potential value of AHIwould be its ability to render an opaque static product that is difficult to trade, like a house or art, into a tool of measurement that is very transparent for many investors.

VIDEO PROJECTION

MASQUERADE

Is a 51min, factual-fiction reportage. A TV-reporter tells the story of the protested IPO of Art House Index in Istanbul. While the reporter is addressing the camera, what appears to be a reconstruction of the Initial Public Offering is taking place in the background. But then it all starts going wrong again! Is the audience witnessing an insider-sales in an auction house, a market crash in a trading pit or is it a hearing in a courtroom, one that tries to unveil the intricate dynamics of a confidence game?

MASQUERADE addresses a specific intersection of the contemporary art and finance markets, through the filter of Melville's novel The Confidence Man: His Masquerade (1857) as the structure for its episodic narration. The film takes its name from the subtitle of Melvilleā€™s novel. In their film Vermeir & Heiremans present the financial market as the 'mise en scene' and a leading character of the narrative.

In this live installation version of the film, the financial market influences the real-time cutting of the film. The actual performance of AHIā€“, showing the index going up or down, in real time triggers a switch between two timelines of MASQUERADE, one of which shows the fully post-produced finished film while the other captures variations, rehearsals and outtakes. The artists have no control over the editing of MASQUERADE, the markets creating a unique moment in time as it is statistically highly improbable the audience will ever get to see the same combinations twice.

Preview single screen version on Vimeo: https://vimeo.com/133391587
Password: M2015

IN-RESIDENCE MAGAZINE # 02

Incorporated in the multiple screen video installation is In-Residence Magazine # 02, an artist publication in the form of a lifestyle magazine, which offers background information on the concept of value in the worlds of finance and contemporary art.

CREDITS

MASQUERADE a multiple screen video installation by Vermeir & Heiremans was realised in collaboration with Andrea Phillips, Werner Van Steen, Justin Bennett, Amir Borenstein, Jan Misker, Michael Schmid, Salome Schmuki, and with Mon Bernaerts, Philip Brackx, Hans Bryssinck, Gaia Carabillo, Ludo Engels, Ciel Grommen, Elien Hanselaer, Nav Haq, Mieja Hollevoet, Liliane Keersmaeker, Heike Langsdorf, Dieter Leyssen, Karlijn Sileghem, Peter Sileghem, Fatos Ustek, Sun-Mee Vanpanteghem, Mi You and many others. Photography: Michael De Lausnay.

Production: LIMITED EDITIONS vzw

Executive production: JUBILEE vzw (Katrien Reist, Marjolein van der Boon, Reintje Daens, Kia von Schoubye)

Co-production: Auctioneers Bernaerts (Antwerp), Museums Bruges, 4th Dojima River Biennale (Osaka), Goldsmiths, University of London, 13th Istanbul Biennial, Stroom Den Haag, Triennial Bruges 2015, V2_Institute for the Unstable Media (Rotterdam)

Supported by Flemish Audiovisual Fund (VAF), VGC (Brussels) and the Ministry of Culture of the Flemish Community