Ghosting (excerpts)


A trailer for Ronnie van Hout's exhibition Ghosting at Ivan Anthony Gallery (2020). The video features excerpts from two single channel films included in the exhibition.

"Ghosting (The Garden) consists of a single channel video transferred from a Super 8 film. In the first colour section, van Hout plays a US soldier in a war film and recites from The Other Face to be (1913), a rhetorical poem by De Stijl founder, Theo van Doesburg, pseudonym of Christian Emil Marie Küpper (1883-1933). In The Other Face to be, van Doesburg explores the tension between individual and collective processes of identity formation.

In the following scenes...a brick column circular newspaper slot becomes a camera lens — registering flickering light caused by passing motor vehicles. Since the black-and-white shot includes both sharpness and blur, an interplay occurs between representation and abstraction. Here, the artist touches on experimental cinema’s fabrication of new optical realities.

Another film, Ghosting (The Breakfast Club) is van Hout’s homage to John Hughes’ film The Breakfast Club (1985), in which he performs the roles of students in a detention session—five individuals delivering lines from the film script. Here, the artist tries on the kinds of voices and roles that would usually belong to teenagers. As with the previously discussed works, van Hout emphasises the transversal movements of identity by suppressing—but not entirely erasing—narrative content and individual specificity (gender, culture, age cohort and family history)."

 - excerpts from an essay by Lance Pearce, On The Verge: Ronnie van Hout’s 'Ghosting'. Read the full text on CIRCUIT here.


Ghosting (The Garden) (excerpts) 2020. Single channel video (colour/sound), 12:50:00mins, Super 8 film scanned to 4k digital, edition of 3 + 1 AP
Text by Theo van Doesburg, The Other Face to be, De Stijl magazine, Vol XIII (1926), pg 64
Music by Echo and the Bunnymen, Villiers Terrace from the album Crocodiles (1980)
Improv guitar and string playing by Vito van Hout, 2019