Booth 9 features photomontage works by Deborah Oropallo from her acclaimed exhibition, "Guise" (2016). Through compelling use of photomontage, Oropallo juxtaposes figures found in historical paintings with both images from costume catalogues and her own studio photography, layering these seemingly disparate sources into intricate compositions that explore portrayals of gender norms across visual culture. Oropallo’s video work, "Going Ballistic" (2017) is also featured in Tape/Basel, Photo Basel’s concurrent program of film and video. Juxtaposed against a soundtrack featuring Jimi Hendrix’s version of "The Star Spangled Banner" spliced with audio footage from missile launch countdowns, "Going Ballistic" features more than 100 found images of nuclear missile test launches from around the world, as in her 2-d works, using superimposition and photomontage as a strategy for critiquing our collective acculturation to war through the constant reproduction and circulation of these images.
Booth 9 also features Stacey Steers’s "Vital Signs" trilogy of films: "Phantom Canyon" (2006), "Night Hunter" (2011) and "Edge of Alchemy" (2017). By way of a painstaking and labor-intensive process, Steers assembled each film from thousands of handworked photo collages, re-imagining American silent film actors like Mary Pickford and Janet Gaynor in a phantasmagoric narratives of creation and monstrous hybridities. Fragments of historical etchings and photographs are combined to construct surreal settings that mirror the psychological terrain of women’s inner worlds. Steers’ collage technique is layered, intimate and suggestive, and the fantastastical lifeworlds her collages embody reflect upon “the way we process experience and form memories subliminally,” as noted by the artist. Steers’ films are accompanied by a suite of handworked photocollages from "Edge of Alchemy", featured at Tape/Basel.
Finally, Booth 9 features the debut of a new series of photocollages by Josephine Taylor. Taylor’s collages examine the emotional and psychological remnants of adolescence. Her subject matter is personal, rendered with a tender fragility. Instead of criticizing teenage desire, Taylor’s work encourages viewers to be galvanized by the potential of living in a more purely visceral, emotional space, depicting a glimpse into the raw and beautiful landscape of contemporary adolescence.