Lynne Marsh
Courtesy the artist
Lynne Marsh, still from "Stadium" (2008). High-definition video, 10 min.
By Lyra Kilston
Published: November 1, 2008
"Lynne Marsh" at Musee d'Art Contemporain (Montreal)
For more than 10 years, the Ottawa-born, London- and Berlin-based artist Lynne Marsh has used video to reflect on how the female body both affects and is affected by spaces natural and architectural. From pajama-clad avatars doing karate kicks over roiling digital seas to a woman–cum–disco ball wearing a spangled shirt, suspended upside down from a chandelier and scattering dots of light throughout the lavish red and gold Rivoli Ballroom, Marsh’s gendered scenarios are by turns spectacular and sinister. Take her recent Stadium, one of three videos that will be on view this month in Montreal. While in residence in Berlin, Marsh was drawn to the recently renovated Olympiastadiom, where the notorious 1936 games were held. Her gray-scale film pans over the Fascist-perfect rows of empty seats, altered by 3-D animation to appear endless. Eventually, a character appears in a white tracksuit, moving along and across the rows in a choreography that contrasts her lone body against the ominous architecture. "Lynne Marsh" originally appeared in the November 2008 issue of Modern Painters. For a complete list of articles from this issue available on ARTINFO, see Modern Painters' November 2008 Table of Contents.
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