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Mark Leckey
* 1964 in England, lives and works in London (GB)

Part IV: Borrowed Images

Works in the Exhibition | Interview

Mark Leckey: Fiorucci Made Me Hardcore, 1999
Photo: courtesy Goetz Collection

Works in the Exhibition

Fiorucci Made Me Hardcore, 1999, single-channel video projection (color, sound), 14'48"
Parade, 2003, one-channel video (color, sound), projection or monitor, 31'30"


Stephan Urbaschek: The subtitle for the next show in our five-part exhibition cycle, Imagination Becomes Reality, is called Borrowed Images. It is in this context that we are planning to show your works in the Goetz Collection. In a previous conversation you have mentioned a context where the idea of 'borrowed images' played a role.
Mark Leckey: I was in a show recently, the Tate Triennial(1), where they hinted at that idea of 'borrowed' or 'appropriated' work, which I wasn't too comfortable with because Iíd rather it was called 'burrowed' work because Iím more interested in the idea of actually trying to inhabit an image, to be inside of it. And video has this plastic quality that allows me more space to do that rather than, say, a painting would.
Stephan Urbaschek: What do you mean when you say: "More space to do that"?
Mark Leckey: Basically, there are more dimensions - well, it's got time in it for one! It gives you the space to allow yourself to move into an image. I canít really describe it much better than that. I recently saw Céline and Julie Go Boating by Jacques Rivette which he made in 1974. Do you know this film?

(1) Tate Triennale 2006. New British Art, 01.03.-14.05.2006. See:

Text excerpt »Black Box Recording« - A Telephone Conversation with Mark Leckey, May 2006 (Autor: Stephan Urbaschek), Exhibition Catalogue Imagination Becomes Reality Part IV_Borrowed Images