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  • Source: The Art Newspaper
  • Author: Cristina Ruiz
  • Date: OCTOBER 2014
  • Format: PRINT

Weird World: Lizzie Fitch/Ryan Trecartin, Zabludowicz Collection, London

Ryan Trecartin and Lizzie Fitch bring their dizzying video circus to London

Visitors to the Punta della Dogana gallery in Venice last summer were confronted by an immersive installation in the gallery’s first exhibition hall that was as compelling as it was disturbing. The piece, by the Los Angeles-based artist Ryan Trecartin and his long-time collaborator Lizzie Fitch, featured a large video screen, which chronicled the adrenaline-fueled antics of a fictional cast of characters through a series of rapid-fire, disjointed vignettes. This hypercharged, anxiety-inducing journey into the minds of the super-connected, over-tanned and intensely narcissistic YouTube generation was shown in the midst of a series of props and items of furniture used in the making of the film, which were scattered around the room.

At the same time, another major installation by Trecartin and Fitch was included in the Arsenale as part of Massimiliano Goon’s Venice Biennale. This double presentation at the heart of the most prestigious contemporary art show of them all has had the effect of launching the careers of the young artists into the art world stratosphere. This month they arrive for their first solo show in Britain, which opens at the Zabludowicz Collection in London.

The collectors Anita and Poju Zabludowicz helped fund Trecartin’s and Fitch’s Venice Biennale display, made specifically for Goon’s exhibition, and then they acquired it for their collection. Now the artists will turn the Zabludowicz Collection gallery into a single, unified space by applying an internal “skin” of paint and carpet and use it as a backdrop for a reconfigured version of their Biennale installation, which includes four separate films. The point of the seemingly random, sometimes cruel utterings and actions of the figures on screen is to investigate “the impact of technology on communication, language and the construction of identity”, according to the gallery. Stepping into an installation by the artists is an all-consuming assault on the senses, which is in many ways repellent vet also utterly unforgettable.