Caligari und der Schlafwandler (Caligari and the Sleepwalker) . 2008
+ artnet . Kunsthaus Baselland
Born 1969 in Valencia, Venezuela, living in New York, New York, video installation artist Javier Téllez’s films combine documentary with fictionalized narratives to question definitions of normality and pathology. Collaborating with institutionalized patients living with mental illness to rewrite classic stories or invent their own, he creates what he calls a cinematic “passport to allow those outside to be inside” by renegotiating sociocultural barriers. This approach to using art as a voice for the marginalized positions itself within the tradition of art therapy, though Téllez attempts to “cure” viewers of false assumptions, rather than the patients of their disorders. Circus tents and other props provide ironic references to historically carnivalesque exploitations of abnormality, epitomized in director Tod Browning’s films. In contrast, Tellez’s projects assert the individualism and competence of his actors and emphasize their human dignity by engaging their creativity on sophisticated intellectual levels. Working intimately with his casts, Téllez blurs distinctions between artist and patient to consider the arbitrary boundaries of reality, reason, and insanity.
Whitney
+ artnet . Kunsthaus Baselland
Born 1969 in Valencia, Venezuela, living in New York, New York, video installation artist Javier Téllez’s films combine documentary with fictionalized narratives to question definitions of normality and pathology. Collaborating with institutionalized patients living with mental illness to rewrite classic stories or invent their own, he creates what he calls a cinematic “passport to allow those outside to be inside” by renegotiating sociocultural barriers. This approach to using art as a voice for the marginalized positions itself within the tradition of art therapy, though Téllez attempts to “cure” viewers of false assumptions, rather than the patients of their disorders. Circus tents and other props provide ironic references to historically carnivalesque exploitations of abnormality, epitomized in director Tod Browning’s films. In contrast, Tellez’s projects assert the individualism and competence of his actors and emphasize their human dignity by engaging their creativity on sophisticated intellectual levels. Working intimately with his casts, Téllez blurs distinctions between artist and patient to consider the arbitrary boundaries of reality, reason, and insanity.
Whitney
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