Javier Téllez

La Passion de Jeanne dʼArc (Rozelle Hospital), 2004

March 18 - May 6, 2006

The Peter Kilchmann Gallery is pleased to announce an exhibition of the Venezuelan artist Javier Téllez (*1969 in Valencia/

Venezuela, lives and works in New York). In the context of the exhibition La Passion de Jeanne dʼArc (Rozelle Hospital),

2004, the artist shows a video installation with the same title, which was originally produced for the last Biennale of Sydney,

and a second video work entitled El Léon de Caracas, 2002/03.

A red velvet curtain dominates the exhibition space of the gallery. A simple black board is hanging on the wall, similar

to the common models, which were used in old classrooms. With white chalk, twelve English female names are written

on it. On the other side of the curtain, a very quiet female voice is to be heard. If one follows the voice, the visitor can see a

double projection as well as some chairs placed in the darkened room. On one side, one can see a 40-minutes film, entitled

Twelve & a Marionette, which portraits twelve female patients of a psychiatric hospital (Rozelle Hospital, Sydney). Javier

Téllez co-operated with these women for one month. They report in different ways on their experiences with mental illnesses

such as depression, or schizophrenia. One woman, for instance, is talking to a marionette, a melancholic song accompanied

by piano can be heard or there is a woman who reading out loud from her diary. It is remarkable, however, that apart

from these expressive contributions, the narrations about personal experiences and social stigmatization due to their mental

illness outweigh. The question about the relationship between the conception of norm and mental illness repeatedly emerges.

On the one hand, the women speak of restriction of the personal freedom by institutional power, while on the other

hand, they discuss the question of God. Between the portraits, there is a recurring module, which shows a tracking shot of a

long and deserted hospital corridor. These sequences are accompanied by the aria Erbarme dich, mein Gott from Bachʼs

St. Matthew passion (1727). The film ends with a camera track into a closed room, in which a woman seems to be lost in

thoughts and listens to the mentioned music played off a record.

In the context of this co-operation a 90-minutes film was developed, which is shown on the opposite side. The artist

brought a copy of the classical silent movie La passion de Jeanne d'Arc (1928) by Carl Theodor Dreyer to the hospital mentioned

above. Téllez and the women watched the film twice and then decided to rewrite the subtitles. Each woman wrote

her suggestions on a black board. The original film tells the story of a young pious woman called Jeanne of Arc, who is

confronted with a tribunal consisting of powerful theologians. She is accused of heresy and threatened with death penalty

by this tribunal. Nearly three quarters of the film show the questioning of Jeanne of Arc by her judges. In the last quarter, the

action is accelerated in order to find its climax and finish with Jeanneʼs martyrdom and simultaneous striking down of a

national uprising. In the new version by the female patients, the happening of the film is shifted on the text level into a psychiatric

hospital. There the protagonist – taken involuntarily to hospital – is diagnosed with a paranoid schizophrenia. She

feels confident to be Jeanne of Arc and due to this statement, she is accused to be crazy. The chaplains take on the role of

psychiatrists who decide over her mental condition. Jeanne of Arc opposes the treatment and is condemned to death. Similar

to the original film La passion de Jeanne d'Arc, in his video Twelve & a Marionette Telléz uses the same cinematic

methods of close ups and shows huge shots of the patientsʼ faces. These shots remind the onlooker of scientific pictures

taken for physiognomic studies and pictures of delinquents taken by the police. The interaction of the two films permit to

change the viewpoint and gives us the possibility to review our prejudices and clichés towards people with mental illnesses.

In the video room the second work, entitled El Léon de Caracas (2003), is being presented. The video shows a

somewhat strange procession consisting of six uniformed police officers marching the roads of Caracas, who carry a stuffed

lion on their shoulders. The procession is not only accompanied by curious spectators but also by the well-known Venezuelan

song Popule Meus (18th century). This procession realized by the artist strongly reminds one of religious processions,

during which relics are frequently carried along the streets. The lion is the townʼs landmark and the heraldic animal of the

Venezuelan capital, which was founded in 1567 by the Spanish conqueror Diego de Losada and was originally called Santiago

de León de Carácas. It is interesting to mention that the current president ordered the elimination of the lion from all

kind of national papers and media of Venezuela. This official act can be related to this work. The lion – a symbol of the

colonial era – was removed due to ideological reasons and Téllezʼ work therefore comments the policy operated by Chavéz

and his way of handling the historical inheritance of his country.

The works displayed in the exhibition are pointing out a proceeding and recurring topic typical for the artist. Since

the beginning of the mid-Nineties, Javier Téllez has often worked together with mentally disordered people in different hospitals

worldwide. In his family surrounding, he got to know how to handle people with mental illnesses as his parents were

both working as psychiatrists. His artistic work is characterised by site-specific and unorthodox collaborations with patients.

As the artist penetrates the social area of the psychiatry and reveals structural problems, he questions the power of such

mechanisms and examines the existing life circumstances of people with mental illnesses. Moreover, he is especially interested

in the relationship between normality and insanity and the investigation of its cultural history. According to a statement

by the artist, the institutions of a society are reflecting themselves in the psychiatry, which demonstrates power and exclusion.

Javier Téllez was included in the 2001 Venice Biennale with his impressive work entitled Choreutics.

Text by Javier Téllez

La Passion de Jeanne dʼArc (Rozelle Hospital), 2004

A film made in collaboration with female patients of a mental institution in Sidney.

A film about them and us.

A film about emotions.

A film about a film made by Carl Theodor Dreyer in 1928.

A film about a silent film deprived of their original intertitles.

A film that appropriates Dreyerʼs classic film edited with a set of 174 new intertitles created by the patients of Rozelle Hospital

with a soundtrack composed of music and sounds also made by them to provide a new narrative for the original film.

A film about seeing the screen as a blackboard that can always be rewritten.

A film that employs Dreyerʼs flattened images of bodies and things as a Rorschach test in order to diagnose the psychiatric

institution through the patients responses to a blank screen.

A film that, as Dreyerʼs film, is a film about faces: “The camera penetrates every layer of the physiognomy. In addition to the

expression one wears, the camera reveals oneʼs true face. Seen from close-up, the human face becomes the document”1

A film that, as Dreyer film, is a film about text: “Oh! But....Joan of Arc is also words!”2

A film about the relationship of text and images: “The text constitutes a parasitic message designed to connote the image,

to ʻquickenʼ it with one or more second-order signifieds.”3

A film about contradictions: “sometimes too, the text can even contradict the image so as to produce a compensatory connotation.”4

A film about the doubling of language as a homage to Artaudʼs poetics of sight and sound.

A film about death and resurrection that translates Dreyerʼs depiction of martyrdom in the XV century to the context of a

contemporary mental institution.

A film about the trial of the society vs. the individual.

A film about the normal and the pathological.

A film about the relationships between the patients and the institutional staff.

A film about the over-coding of diagnosis.

A film about the inscriptions of the law in the body of those who are condemned: “There would not be point in telling him.

Heʼll learn it on his body.”5

A film about mental illness.

A film about psychiatry.

A film about the state.

A film about reason.

A film about a lost film.6

1. Bela Balazs. Quoted by Andre Bazin in The cinema of cruelty. Seaver Books, NY 1982, p. 20

2. Carl Th. Dreyer. From an Interview. Carl Th. Dreyer. Edited by Jytte Jensen. The Museum of Modern Art, NY, 1988, p 58.

3. Roland Barthes. Image,music,text. Hill and wang, NY, 1988, p. 25.

4. ibid, p .27.

5. Franz Kafka. In the Penal Colony. The Complete Stories, Schocken Books, NY, 1971, p. 145.

6. The original version of Dreyerʼs La Passion de Jeanne dʼArc was considered lost until 1981 when a print was found in the

closet of a psychiatric institution outside Oslo in Norway.