Candice Breitz, ‘Love Story: Farah Abdi Mohamed’, 2017, Video/Film/Animation, Center for Contemporary Art - Tel Aviv
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Candice Breitz

Love Story: Farah Abdi Mohamed, 2017

About the work
Candice Breitz
South African, b. 1972
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Simultaneously compelling and uncomfortable, Candice Breitz’s video installations and photographs reflect her concern with the instability of identity in an age of widespread media saturation. She has described this as “the ever-increasing impact of the culture industry on subject formation in an age where lives lived on-stage have the capacity to radically influence and determine those lived off-stage.” In Mother Father (2005), for example, Breitz combined clips of various Hollywood actors playing mothers and fathers into a dysfunctional montage, suggesting the disturbing ways in which our perceptions of fundamental human experiences have been shaped by mass media.

Candice Breitz, ‘Love Story: Farah Abdi Mohamed’, 2017, Video/Film/Animation, Center for Contemporary Art - Tel Aviv
Save
Save
Share
Share
About the work
Candice Breitz
South African, b. 1972
Follow

Simultaneously compelling and uncomfortable, Candice Breitz’s video installations and photographs reflect her concern with the instability of identity in an age of widespread media saturation. She has described this as “the ever-increasing impact of the culture industry on subject formation in an age where lives lived on-stage have the capacity to radically influence and determine those lived off-stage.” In Mother Father (2005), for example, Breitz combined clips of various Hollywood actors playing mothers and fathers into a dysfunctional montage, suggesting the disturbing ways in which our perceptions of fundamental human experiences have been shaped by mass media.

Candice Breitz

Love Story: Farah Abdi Mohamed, 2017

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