DOREEN UHLIG


SENZA TITOLO (COS' È L'AMORE?)

Performance / Installation in Zusammenarbeit mit Claudia Giacomello und Francesca Bertamini,
und mit Mariuccia Salvetti Casari, Marianna und Paolo aus Trento



Doreen Uhlig was the only member of IPG at the gallery who wasn’t starring as a performer herself. Instead,
she created a child’s room.
Every single object in the room – the building blocks, the tricycle, the hobby horse, stuffed animals, toy airplane,
bedspread, rug, plastic play kitchen set, rubber balls, wooden fruit, the lamp, the wall, the carpet, even the light
switches and light fixtures – has been engraved or stickered with the words “Cos’ è l’amore?”
The public is implicitly invited to pick up, turn over, and search every object and surface for the innocent yet
taunting question “Cos’ è l’ amore?”
It’s like being plunged into a child’s bad dream, a child who was suddenly and violently been confronted with
the question of love. Everywhere she turns, it’s there, and obviously there is no answer. Except perhaps in the
way that it’s inescapable, maddening, perhaps even terrifying. There is something of a Shining-like horror to
the room.

On the childsized set of the chairs in the centre of the child’s room, a mother and her grown up daughter sit and
stare at each other. They speak, but there are long gaps between their words – which sometimes sound like
accusations, and sometimes come with laughter. The concept behind this public performance appears for the
first time in the video
, 2003, in which Uhlig performs together with her grandmother. Two close family
members are asked to think of and say 1) things they always say to the other person and 2) things that person
always says to them. The exchange is not meant to be a conversation. There doesn’t have to be any link or
progression in the slow exchange of... platitudes? Painful remembrances? Habitual complaints? Forgotten
affection? Whereas other performances were almost like a dare – How long can you watch at me before getting
embarrassed? – this was a subtle and sympathetic non-event. What the Umniza system seems to offer is an
attentive, non-judgmental revelation of a relationship hidden by years – maybe childhood years – of habit. The
language that might normally cover-over rather than communicate feelings is suddenly made clear.


James Westcott: La Galleria dell’ Amore / An act of love which brings embarrassment
Work – Art in Progress, Volume 14, Herbst/Winter 2005






Let love blossom with IPG, La Galleria dell’ Amore
Galleria Civica di Arte Contemporanea di Trento, Italien
06/2005



zum Artikel LA GALLERIA DELL' AMORE Work – Art in Progress, Volume 14, 2005
zur Arbeit UMNIZA