![]() Holmes) subjects them to an electrochemical transformation. He brings his plates to a remote trailer housing a rudimentary laboratory, where the Electroplater (K. The Engraver (Matthew Barney) happens upon the hunting outfit in the forest and begins stalking the trio, furtively documenting their actions in a series of copper engravings. Accompanied by her attendants, the Calling Virgin (Eleanor Bauer) and the Tracking Virgin (Laura Stokes), Diana traverses the mountainous terrain in pursuit of the elusive wolf. The Diana of Redoubt (Anette Wachter) is both the protector of the natural world and a predator in it-a present-day sharpshooter in the frigid Idaho wilderness. Structured as a series of six hunts that unfold over seven days and nights, Redoubt loosely adapts the myth of Diana, goddess of the hunt, and Actaeon, a hunter who accidentally trespasses on her and is punished. All of the dance passages were filmed on location, and the relationship between site and movement is a recurring theme. Holmes, Sandra Lamouche, and Laura Stokes. Eleanor Bauer, who also worked with Barney on River of Fundament, both performed in and choreographed Redoubt, in collaboration with K. Throughout the film, the characters’ movements are formalized into choreographies that echo, foreshadow, and interpret their encounters with wildlife. Like most of Barney’s previous films, Redoubt is without dialogue but in a marked shift, Barney has more fully incorporated dance into the narrative of the film, allowing the characters to communicate choreographically. ![]() By layering classical, cosmological, and American myths about humanity’s place in the natural world, Redoubt forms a complex portrait of the central Idaho region. Redoubt was filmed in Idaho’s rugged Sawtooth Mountains and continues Barney’s longstanding preoccupation with landscape as both a setting and subject in his films. On the plates that were left longest in the electroplating bath, the copper accretions overtake the drawing, transforming the engravings into abstract reliefs and almost completely obscuring the image. ![]() By altering the conditions in the electroplating tank-including current, heat, and chemical concentrations-the artist produced unique variations on each image. ![]() The plate was immersed in an acid and copper solution and was subjected to an electrical current, causing copper growths to form out of the engraved lines. In this experimental method, an image was engraved into a copper plate coated with asphalt. The electroplates were made using a technique that Barney developed during production of the film, which he then refined and expanded in the studio. The exhibition also includes engravings on copper plate that Barney made during the filming of Redoubt, as well as a series of electroplated copper reliefs that feature imagery from the film, such as the landscape of the Sawtooth Mountains or a wolf among the trees. Of the five sculptures featured, one is a previously unseen piece, specially created according to the dimensions of UCCA’s Great Hall and displayed for the first time ever at the Beijing installment of “Redoubt.” Each sculpture is a literal vestige of Idaho, with the remains of the tree being subsumed into the artwork. Molten copper and brass were poured through the trees, creating a unique cast of the core as the metal flowed inside. The five monumental sculptures in the exhibition, for instance, derive from trees harvested from a burned forest in the Sawtooth Mountains of central Idaho, near the artist’s childhood home. 1967, San Francisco, lives and works in New York) has combined traditional casting methods and new digital technologies with unprecedented techniques to create artworks of formal and material complexity, and narrative density. The artworks in “Redoubt” continue the artist’s notable shift in materials over the past decade, from the plastic and petroleum jelly of his early works to the cast metals that figured prominently in River of Fundament (2014). After its run at UCCA, in October 2020 it will travel to the Hayward Gallery in London. The exhibition was first displayed at Yale University Art Gallery from March 1 to June 16, 2019. Also featured are five monumental sculptures, more than fifty engravings and electroplated copper plates, and an artist-conceived catalogue. The exhibition includes an eponymous two-hour film that traces the story of a wolf hunt in Idaho’s Sawtooth Mountain range, intertwining the theme of the hunt with those of mythology and artistic creation. From Septemthrough January 12, 2020, UCCA presents “Matthew Barney: Redoubt,” a major new body of work realized between 20 that marks the artist’s first solo exhibition in China.
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