Peter Friedl

As the Austrian artist unveils a new work at Doumenta 14 in Athens, Raimar Stange considers the artist's constant staging, re-staging and de-staging of history

By Raimar Stange

Teatro Popular (detail), 2016–17, wood, aluminium, fabric, 22 glove puppets, dimensions variable. Courtesy the artist and Lumiar Cité, Lisbon Teatro Popular, 2016–17 (installation view). Photo: Daniel Malhão. Courtesy the artist and Lumiar Cité, Lisbon The Children (still), 2009, video, colour, sound, 2 min 12 sec (loop). Courtesy the artist Bilbao Song (still), 2010, video installation, HD video, colour, sound, 5 min 53 sec (loop). Courtesy the artist Dummy, 1997 (installation view, Documenta 10, Kassel, 1997). Photo: Dieter Schwerdtle. Courtesy the artist

A man stands in a pedestrian underpass and throws money into a cigarette machine. When it doesn’t dispense the cigarettes he paid for, he kicks the machine furiously and leaves. A junkie approaches him and begs for money; when it’s refused, the junkie kicks the man. Peter Friedl’s video Dummy, produced in 1997 for Documenta 10 in Kassel, presents what at first appears to be a realistic, everyday scene. But not everything is as it seems. The man standing at…

Want to read more?

As an unregistered user you can view 5 articles per month.

You can register free to get a further 15 free articles

and access to 2 digital editions per month

or subscribe for unlimited access

If you have already signed up access you account here