Instagram Mailing List

Join our mailing list

Ratio 3 is pleased to announce High Noon, Amie Siegel's second solo exhibition with the gallery. Featuring a connected array of video, slide projection, and works on paper, the exhibition tracks the ways images and objects are imbued with value, and how cultural memory evolves, itself becoming a product, artifact, or experience. Revealing associations between seemingly disparate artworks and geographies, Siegel questions notions of originality and reproduction and queries the latent, gendered relationships between acoustic, cinematographic, and architectonic spaces.

Near the gallery entrance, the framed series Body Scripts (2015) reproduces pages from Alberto Moravia’s novel, A Ghost at Noon (il Disprezzo), the basis for Jean-Luc Godard’s 1963 film Contempt (Le Mépris). By painting over large sections of text, Siegel leaves only the novel’s passages describing its female protagonist. The resultant geometries recall architectural floor plans, and form ‘scripts’ for an actress’s movements in the related work, The Noon Complex. Elaborating on the body as object and artifact, Surrogates (2016) presents a continuous slide projection of photographs of rupture and repair found on ancient sculptural figures in the National Archeological Museum in Naples.

While the Body Scripts remove the novel’s background to focus solely on the central female figure, Siegel’s multi-channel video installation The Noon Complex (2016) digitally removes the character, as portrayed by Brigitte Bardot, from corresponding scenes in Godard's film adaptation. Taken together, the artist’s transposed deletions underscore the complex objectification of its protagonist, while uncannily personifying the film's architecture, the Villa Malaparte on Capri, through tracking shots that follow a now-absent female protagonist. On an adjacent screen, Siegel poses a surrogate actress as Bardot in a neutral environment. Set to two alternating versions of the film’s musical scores– the famous French orchestral composition and the little known jazz bossa nova Italian score– the actress’s movements thus oscillate between melancholy drama and burlesque.

In the last gallery, Genealogies (2016) expands on the exhibition’s themes through a vast montage combining novels, films, images, advertising and soundtrack from multiple sources into a baroque invocation of image and artwork provenance, remake and copy. Extending from Bardot infamously sunning her backside on the Villa Malaparte’s roof terrace, Siegel’s video plots an iconography of architecture and the female body as visualized in cinema and harnessed by advertising and media. From Wilhem Jensen’s novella Gradiva, to Freud, de Chirico, Rossellini, Curzio Malaparte, Moravia, Resnais, Robbe-Grillet, Godard, Pink Floyd and the Beastie Boys to ad campaigns by Hugo Boss and Persol, Genealogies maps a layered trajectory, speculating on homage and influence and, ultimately, tracing a lineage of adaptation, appropriation and recurrence stripped from hierarchical order.

Together, the works in the exhibition bring into relief the sculptural, soundtracked backstory of gendered, cinematic forms. “High Noon” is the time of day when objects lose their shadows, but also the notion of a final, decisive confrontation.

On the occasion of the exhibition opening, Amie Siegel will be in conversation with Ratio 3 artist Katarina Burin, for a discussion of both the exhibition and Siegel’s new monograph, Ricochet (Prestel, 2019). The conversation is free to attend and open to the public.

Amie Siegel (b. 1974, Chicago, IL) lives in Brooklyn, NY. Her recent solo exhibitions include Strata, South London Gallery; Double Negative, Museum Villa Stuck, Munich; Imitation of Life, Temple Bar Gallery, Dublin; Ricochet, Kunstmuseum Stuttgart; The Architects, Storefront for Art & Architecture, New York; Provenance, The Metropolitan Museum of Art, New York; and Winter, Guggenheim Museum Bilbao, first exhibited in the US at Ratio 3 in 2014. She has participated in international group exhibitions including the 2018 Gwangju Biennial, 2018 Dhaka Art Summit, CAPC Bordeaux; Witte de With, Rotterdam; Museum of Contemporary Art, Manila; 2016 Glasgow International; Swiss Institute, NY; Haus der Kulteren der Welt, Berlin; Vancouver Art Gallery; MAXXI Rome; CCA Wattis, San Francisco and the Walker Art Center, MN. The artist has been a fellow of the Guggenheim Foundation, the DAAD Berliner-Künstlerprogramm, and a recipient of the ICA Boston Foster Prize and the Sundance Institute and Creative Capital Awards. Her work is in public collections including The Museum of Modern Art, New York; Tate Modern, London; The Metropolitan Museum of Art, New York; Kunstmuseum Stuttgart; the Solomon R. Guggenheim Museum, New York; Carnegie Museum of Art, Pittsburgh and the Whitney Museum of American Art, New York.