DÜSSELDORF, Germany — The primary complete survey in Germany of the American feminist artist and video pioneer Lynn Hershman Leeson, on the Julia Stoschek Basis, Düsseldorf, is an exhilarating, if anxiety-inducing, expertise. As an early adapter of video know-how, the artist was one of many first to grapple with the fraught potential of digital instruments. The survey, that includes video installations, pictures, and blended media, sees the artist wielding a digicam in an intimate and confessional manner, utilizing it to probe notions of authenticity and reality, and critiquing digital photos themselves as a quickly proliferating technique of surveillance. On this sense, the present’s title, Are Our Eyes Targets?, is especially apt, and chilling: Eyes, the saying goes, are the home windows to the soul — however in our age, baring one’s soul to the digicam carries a hefty price ticket. The extra superior digital tech turns into, Hershman Leeson appears to warn, the extra vigilant we should all be towards its lurid seductions.
Upon getting into the area, guests are instantly confronted by a number of portraits: The artist’s face populates all six video channels exhibiting excerpts from Hershman Leeson’s seminal video-art collection, The Digital Diaries of Lynn Hershman Leeson 1984–2019 (1984–2019). Clear glass partitions divide the screens, in order that the photographs appear to interpenetrate each other. The visible cornucopia is a placing embodiment of how the artist noticed herself: as an enigma, splintered by trauma. In imagistic snippets, aided by expressionistic, dreamy clips from early cinema, she tells of home sexual and bodily abuse she suffered as a baby. Heartbreaking, darkish, and courageous, the work powerfully breaks the taboo of talking of such trauma outdoors a psychoanalyst’s workplace. However it’s the video’s intimacy that’s most compelling: The whisper, the close-up, the averted gaze — all improve a way of a diaristic, confessional closeness, in a manner that builds a form of conspiracy between artist and viewer.
Different snippets depict Hershman Leeson’s self-described “private apocalypse”: divorce, wildly fluctuating weight, binging, sudden life-threatening sickness. But a way of therapeutic can be felt in these voiceovers, equivalent to when she narrates the expertise of a sudden feeling of déjà vu upon her abusive father’s dying, in addition to descriptions of her daughter’s start and her new marriage. Elsewhere, she expands the scope of Digital Diaries to incorporate interviews with scientists. Taking a cue from her personal intimate relationship with video, she imagines a Cyborgian future by which people merge with know-how. At first, this merger sounds vaguely optimistic. However by the tip of the mission, she’s clearly ambivalent: In 2019, the final yr of the collection, she encoded the collection’s video archive onto a strand of DNA to create a sturdy archive (the lifespan of the genetic materials is longer than that of a hard-drive), but bemoans the invasiveness of that very process.
Set up view of Lynn Hershman Leeson, The Digital Diaries of Lynn Hershman Leeson 1984-2019 (1984–2019), six-channel video set up, 74 toes (~22.6 meters), shade, sound
The darkish word shouldn’t come as a shock. Within the acerbic “Paranoid,” (1968–2022), which opens the Stoschek present, a wig with butterfly pins nested inside a glass harrasses guests as they strategy with phrases like: “You think you’re so clever,” “Please go away,” and “Look at someone else. Look at yourself.” And as early as 1994, the artist was delivering grim messages of digital dependency, aggression, and intrusiveness in works equivalent to “Seduction of Cyborg,” additionally included at Stoschek, which follows a younger girl who will get sucked into her pc display. One other work, “CybeRoberta” (1996), comprised of a seemingly odd doll sitting inside a glass vitrine, permits viewers to entry a chosen web site through a QR code displayed on the wall after which to vary the place of “Roberta”’s digital eye to see real-time photos of themselves within the gallery. For sure, discovering myself so completely surveilled by a seemingly benign toy was morbidly riveting, but in addition genuinely disconcerting.
A newer video, “Shadow Stalker” (2018–21) confronts the controversial surveillance software program Predpol, which makes use of information analytics to allegedly predict crime. In it, a Black girl revolutionary, performed by Tessa Thompson, decries a tradition of paranoia created from racialized data-assisted policing. In portraying the escalation of techno-social dystopias, Hershman Leeson reminds viewers that digital applied sciences and the photographs they assist seize and disseminate had been by no means impartial receptacles of personal truths, however as an alternative have at all times been political battlegrounds.
Set up view of Lynn Hershman Leeson, The Digital Diaries of Lynn Hershman Leeson 1984-2019 (1984–2019), six-channel video set up, 74 toes (~22.6 meters), shade, sound 
Lynn Hershman Leeson, “Reach” (1986), {photograph}, gelatin silver print, 31 1/2 x 24 inches (80 x 61 cm)
Lynn Hershman Leeson: Are Our Eyes Targets? continues on the Julia Stoschek Basis (Schanzenstraße 54, Düsseldorf, Germany) by February 2, 2025. The exhibition was organized by Lisa Lengthy and Line Ajan.