Lynn Hershman-Leeson
출생 : , Cleveland, Ohio, USA
약력
Over the last five decades, artist and filmmaker Lynn Hershman Leeson has received international acclaim for her art and films. She is recognized for her innovative work investigating issues that are now recognized as key to the workings of society: the relationship between humans and technology, identity, surveillance, and the use of media as a tool of empowerment against censorship and political repression. She is considered one of the most influential media artists and has made pioneering contributions in photography, video, film, performance, installation and interactive as well as net-based media art.
Her activist films on injustice within the art world and society at large have been praised worldwide. !Women Art Revolution! won first prize in the Montreal Festival for Films on Art and hailed by the Museum of Modern Art as one of the three best documentaries of 2012. Holland Cotter of the New York Times called it “the most comprehensive documentary ever made on the feminist art movement.” Her 2009 film Strange Culture – which the NY Time deemed “the perfect balance of form and content” and The Nation called “a brilliant and moving examination of fear and its manipulation” – resulted in the the release of an artist facing a prison sentence of 23 years.
Director
The final video in the four-part Cyborg series.
Self
Tell Them We Were Here is an inspirational feature-length documentary about eight artists who show us why art is vital to a healthy society and reminds us that we are stronger together.
Director
Over 30 filmmakers and friends of Strand Releasing have come together to honor the company’s indelible contribution to independent cinema over the past thirty years. The participating filmmakers have each created a short film for the project, all shot on iPhones.
Director
A woman's personal life unfolds over twelve years in a video diary that simultaneously parallels and reflects global history. Personal fears and obsession dissolve into a story of triumph and empowerment as the protagonist eventually finds her voice.
Producer
VertiGhost, a newly commissioned work by Lynn Hershman Leeson for the Fine Arts Museums, draws the viewer into a meditation about notions of authenticity and the construction of identity. Inspired by the Legion of Honor’s role as a location for Alfred Hitchcock’s Vertigo (1958), Hershman Leeson explores the tension at the core of Vertigo between the difficulty or lack of desire to distinguish between reality and fiction versus the pursuit of truth. The eponymous ghost of Hershman Leeson’s project is the elusive nature of a singular identity that haunts the characters in the 1958 film, its most enigmatic representation being the painting of a supposed distant relative of the film’s protagonist Madeleine, around which her character and fate is imagined.
Writer
VertiGhost, a newly commissioned work by Lynn Hershman Leeson for the Fine Arts Museums, draws the viewer into a meditation about notions of authenticity and the construction of identity. Inspired by the Legion of Honor’s role as a location for Alfred Hitchcock’s Vertigo (1958), Hershman Leeson explores the tension at the core of Vertigo between the difficulty or lack of desire to distinguish between reality and fiction versus the pursuit of truth. The eponymous ghost of Hershman Leeson’s project is the elusive nature of a singular identity that haunts the characters in the 1958 film, its most enigmatic representation being the painting of a supposed distant relative of the film’s protagonist Madeleine, around which her character and fate is imagined.
Editor
VertiGhost, a newly commissioned work by Lynn Hershman Leeson for the Fine Arts Museums, draws the viewer into a meditation about notions of authenticity and the construction of identity. Inspired by the Legion of Honor’s role as a location for Alfred Hitchcock’s Vertigo (1958), Hershman Leeson explores the tension at the core of Vertigo between the difficulty or lack of desire to distinguish between reality and fiction versus the pursuit of truth. The eponymous ghost of Hershman Leeson’s project is the elusive nature of a singular identity that haunts the characters in the 1958 film, its most enigmatic representation being the painting of a supposed distant relative of the film’s protagonist Madeleine, around which her character and fate is imagined.
Director
VertiGhost, a newly commissioned work by Lynn Hershman Leeson for the Fine Arts Museums, draws the viewer into a meditation about notions of authenticity and the construction of identity. Inspired by the Legion of Honor’s role as a location for Alfred Hitchcock’s Vertigo (1958), Hershman Leeson explores the tension at the core of Vertigo between the difficulty or lack of desire to distinguish between reality and fiction versus the pursuit of truth. The eponymous ghost of Hershman Leeson’s project is the elusive nature of a singular identity that haunts the characters in the 1958 film, its most enigmatic representation being the painting of a supposed distant relative of the film’s protagonist Madeleine, around which her character and fate is imagined.
Director
In 2015 reknown Cuban artist Tania Bruguera was imprisoned in Havana after advocating for freedom of expression. Shortly after her release she returned to the United States and located Dr. Frank M. Ochberg, the founding father of trauma therapy, particularly PTSD and Stockholm Syndrome. The filmed therapy sessions between them exposes an intimate yet profound analysis of Cuba, surveillance and the politics in of repression embedded in government and family structures.
Editor
Through intimate interviews, provocative art, and rare, historical film and video footage, this feature documentary reveals how art addressing political consequences of discrimination and violence, the Feminist Art Revolution radically transformed the art and culture of our times.
Writer
Through intimate interviews, provocative art, and rare, historical film and video footage, this feature documentary reveals how art addressing political consequences of discrimination and violence, the Feminist Art Revolution radically transformed the art and culture of our times.
Herself
Through intimate interviews, provocative art, and rare, historical film and video footage, this feature documentary reveals how art addressing political consequences of discrimination and violence, the Feminist Art Revolution radically transformed the art and culture of our times.
Director
Through intimate interviews, provocative art, and rare, historical film and video footage, this feature documentary reveals how art addressing political consequences of discrimination and violence, the Feminist Art Revolution radically transformed the art and culture of our times.
Editor
The film examines the case of artist and professor Steve Kurtz, a member of the Critical Art Ensemble (CAE). The work of Kurtz and other CAE members dealt with genetically modified food and other issues of science and public policy. After his wife, Hope, died of heart failure, paramedics arrived and became suspicious when they noticed petri dishes and other scientific equipment related to Kurtz's art in his home. They summoned the FBI, who detained Kurtz within hours on suspicion of bioterrorism.
Writer
The film examines the case of artist and professor Steve Kurtz, a member of the Critical Art Ensemble (CAE). The work of Kurtz and other CAE members dealt with genetically modified food and other issues of science and public policy. After his wife, Hope, died of heart failure, paramedics arrived and became suspicious when they noticed petri dishes and other scientific equipment related to Kurtz's art in his home. They summoned the FBI, who detained Kurtz within hours on suspicion of bioterrorism.
Director
The film examines the case of artist and professor Steve Kurtz, a member of the Critical Art Ensemble (CAE). The work of Kurtz and other CAE members dealt with genetically modified food and other issues of science and public policy. After his wife, Hope, died of heart failure, paramedics arrived and became suspicious when they noticed petri dishes and other scientific equipment related to Kurtz's art in his home. They summoned the FBI, who detained Kurtz within hours on suspicion of bioterrorism.
Director
This project uses mixed reality convergence through which users can participate in some of the digital existing archive of Lynn Hershman Leeson, now housed in the Special Collections Library at Stanford University. Created in 2006, this project is one of the first artist archive projects in Second Life and has been exhibited at the Museum of Contemporary Art Montreal, ISEA and San Francisco Museum of Modern Art.
Narrator
This project uses mixed reality convergence through which users can participate in some of the digital existing archive of Lynn Hershman Leeson, now housed in the Special Collections Library at Stanford University. Created in 2006, this project is one of the first artist archive projects in Second Life and has been exhibited at the Museum of Contemporary Art Montreal, ISEA and San Francisco Museum of Modern Art.
Producer
유전공학자 로제타는 비밀리에 자신의 DNA를 컴퓨터에 다운로드해서 루비, 올리브, 마린이라고 이름 붙인 세 명의 복제인간을 만들어낸다. 로제타를 똑 닮은 이들 사이버-인간은 Y 염색체가 없으면 생명을 유지하기 힘들고, 이 때문에 루비는 밤마다 현실 세계로 외출하여 남자의 정자를 수집한다. 이 과정에서 루비와 성관계를 맺은 남자들은 성 불능이 되고, 사건이 일파만파로 확대되자 FBI에서는 대대적인 수사에 돌입한다.
파시즘적 민족주의와 국가발전주의 안에서 착취되어 온 여성의 몸에 대한 논의는 새로운 것이 아니지만, 최근 몇 년 황우석의 줄기세포 연구와 관계된 일련의 사건들을 지나오면서 이 문제는 남성화된 과학기술 및 의료산업의 문제와 맞물려 더욱 복잡한 화두로 대두되고 있다. 오랜 세월 여성주의 예술가로 여성과 기술에 대한 작업을 해 온 린 허쉬만 리슨의 는 과학기술을 거대 담론의 영역에서 건져낸다. 그리고 단성생식과 사랑으로 이루어진 연대체에 대한 여성의 은밀한 상상을 재현하면서 기술권력을 탈남성화시킨다. 테크노-유토피아의 관점으로 과학기술이 사랑과 소통의 장이 될 수 있다는 감독의 상상은 말랑말랑하지만, 기술이 곧 폭력으로 연결되거나 인간의 정체성을 찾는데 다른 존재를 활용하는 등의 고루한 SF 재현 방식을 피해간다는 점에서 매력적이다.
사이버펑크가 주류 감성이 되어버린 21세기에 인디 감수성을 즐길 수 있는 저예산 SF 블랙코미디이며, 틸다 스윈튼의 1인 4역이 관객을 사로잡는다.
(서울국제여성영화제)
Screenplay
유전공학자 로제타는 비밀리에 자신의 DNA를 컴퓨터에 다운로드해서 루비, 올리브, 마린이라고 이름 붙인 세 명의 복제인간을 만들어낸다. 로제타를 똑 닮은 이들 사이버-인간은 Y 염색체가 없으면 생명을 유지하기 힘들고, 이 때문에 루비는 밤마다 현실 세계로 외출하여 남자의 정자를 수집한다. 이 과정에서 루비와 성관계를 맺은 남자들은 성 불능이 되고, 사건이 일파만파로 확대되자 FBI에서는 대대적인 수사에 돌입한다.
파시즘적 민족주의와 국가발전주의 안에서 착취되어 온 여성의 몸에 대한 논의는 새로운 것이 아니지만, 최근 몇 년 황우석의 줄기세포 연구와 관계된 일련의 사건들을 지나오면서 이 문제는 남성화된 과학기술 및 의료산업의 문제와 맞물려 더욱 복잡한 화두로 대두되고 있다. 오랜 세월 여성주의 예술가로 여성과 기술에 대한 작업을 해 온 린 허쉬만 리슨의 는 과학기술을 거대 담론의 영역에서 건져낸다. 그리고 단성생식과 사랑으로 이루어진 연대체에 대한 여성의 은밀한 상상을 재현하면서 기술권력을 탈남성화시킨다. 테크노-유토피아의 관점으로 과학기술이 사랑과 소통의 장이 될 수 있다는 감독의 상상은 말랑말랑하지만, 기술이 곧 폭력으로 연결되거나 인간의 정체성을 찾는데 다른 존재를 활용하는 등의 고루한 SF 재현 방식을 피해간다는 점에서 매력적이다.
사이버펑크가 주류 감성이 되어버린 21세기에 인디 감수성을 즐길 수 있는 저예산 SF 블랙코미디이며, 틸다 스윈튼의 1인 4역이 관객을 사로잡는다.
(서울국제여성영화제)
Director
유전공학자 로제타는 비밀리에 자신의 DNA를 컴퓨터에 다운로드해서 루비, 올리브, 마린이라고 이름 붙인 세 명의 복제인간을 만들어낸다. 로제타를 똑 닮은 이들 사이버-인간은 Y 염색체가 없으면 생명을 유지하기 힘들고, 이 때문에 루비는 밤마다 현실 세계로 외출하여 남자의 정자를 수집한다. 이 과정에서 루비와 성관계를 맺은 남자들은 성 불능이 되고, 사건이 일파만파로 확대되자 FBI에서는 대대적인 수사에 돌입한다.
파시즘적 민족주의와 국가발전주의 안에서 착취되어 온 여성의 몸에 대한 논의는 새로운 것이 아니지만, 최근 몇 년 황우석의 줄기세포 연구와 관계된 일련의 사건들을 지나오면서 이 문제는 남성화된 과학기술 및 의료산업의 문제와 맞물려 더욱 복잡한 화두로 대두되고 있다. 오랜 세월 여성주의 예술가로 여성과 기술에 대한 작업을 해 온 린 허쉬만 리슨의 는 과학기술을 거대 담론의 영역에서 건져낸다. 그리고 단성생식과 사랑으로 이루어진 연대체에 대한 여성의 은밀한 상상을 재현하면서 기술권력을 탈남성화시킨다. 테크노-유토피아의 관점으로 과학기술이 사랑과 소통의 장이 될 수 있다는 감독의 상상은 말랑말랑하지만, 기술이 곧 폭력으로 연결되거나 인간의 정체성을 찾는데 다른 존재를 활용하는 등의 고루한 SF 재현 방식을 피해간다는 점에서 매력적이다.
사이버펑크가 주류 감성이 되어버린 21세기에 인디 감수성을 즐길 수 있는 저예산 SF 블랙코미디이며, 틸다 스윈튼의 1인 4역이 관객을 사로잡는다.
(서울국제여성영화제)
Production Design
Emmy Coer, a computer genius, devises a method of communicating with the past by tapping into undying information waves. She manages to reach the world of Ada Lovelace, founder of the idea of a computer language and proponent of the possibilities of the "difference engine." Ada's ideas were stifled and unfulfilled because of the reality of life as a woman in the nineteenth century. Emmy has a plan to defeat death and the past using her own DNA as a communicative agent to the past, bringing Ada to the present. But what are the possible ramifications?
Writer
Emmy Coer, a computer genius, devises a method of communicating with the past by tapping into undying information waves. She manages to reach the world of Ada Lovelace, founder of the idea of a computer language and proponent of the possibilities of the "difference engine." Ada's ideas were stifled and unfulfilled because of the reality of life as a woman in the nineteenth century. Emmy has a plan to defeat death and the past using her own DNA as a communicative agent to the past, bringing Ada to the present. But what are the possible ramifications?
Producer
Emmy Coer, a computer genius, devises a method of communicating with the past by tapping into undying information waves. She manages to reach the world of Ada Lovelace, founder of the idea of a computer language and proponent of the possibilities of the "difference engine." Ada's ideas were stifled and unfulfilled because of the reality of life as a woman in the nineteenth century. Emmy has a plan to defeat death and the past using her own DNA as a communicative agent to the past, bringing Ada to the present. But what are the possible ramifications?
Director
Emmy Coer, a computer genius, devises a method of communicating with the past by tapping into undying information waves. She manages to reach the world of Ada Lovelace, founder of the idea of a computer language and proponent of the possibilities of the "difference engine." Ada's ideas were stifled and unfulfilled because of the reality of life as a woman in the nineteenth century. Emmy has a plan to defeat death and the past using her own DNA as a communicative agent to the past, bringing Ada to the present. But what are the possible ramifications?
Director
In this video series an individual confronts fears and, through the process of confessing directly to the camera, transcends trauma. It is also about agin, longing, the delusions and misconceptions we are encumbered with as we mature towards self-awareness, and the masks we assume to deny or hide understanding. The tapes rupture, fracture, and use digital effects to mirror the psychological changes of the protagonist.
Herself
In this video series an individual confronts fears and, through the process of confessing directly to the camera, transcends trauma. It is also about agin, longing, the delusions and misconceptions we are encumbered with as we mature towards self-awareness, and the masks we assume to deny or hide understanding. The tapes rupture, fracture, and use digital effects to mirror the psychological changes of the protagonist.
Writer
"A poetic allegory about technology's invasion of the body and the destruction of the immune system, witnessing the pollution of history that drowns us." - Video Data Bank
Director
"A poetic allegory about technology's invasion of the body and the destruction of the immune system, witnessing the pollution of history that drowns us." - Video Data Bank
This docudrama presents the history of the telephone, updated and told from the point of view of a character who uses the screen as both a connection to intimacy and a condom for safe sex.
Director
This docudrama presents the history of the telephone, updated and told from the point of view of a character who uses the screen as both a connection to intimacy and a condom for safe sex.
Writer
A love story for the 90s: Valery falls in love with an identical twin, a virtual reality scientist, and finds she can have a more intimate relationship with him through the computer screen than in person. Or is it really him?
Director
A love story for the 90s: Valery falls in love with an identical twin, a virtual reality scientist, and finds she can have a more intimate relationship with him through the computer screen than in person. Or is it really him?
Writer
Film becomes a metaphor for lost history and its “negative“ impact on successive generations who look for stability in an electronic world that lacks sufficient mediation. Video retrieves lost memories for the child who, through her camera, seeks to find her father.
Editor
Film becomes a metaphor for lost history and its “negative“ impact on successive generations who look for stability in an electronic world that lacks sufficient mediation. Video retrieves lost memories for the child who, through her camera, seeks to find her father.
Producer
Film becomes a metaphor for lost history and its “negative“ impact on successive generations who look for stability in an electronic world that lacks sufficient mediation. Video retrieves lost memories for the child who, through her camera, seeks to find her father.
Director
Film becomes a metaphor for lost history and its “negative“ impact on successive generations who look for stability in an electronic world that lacks sufficient mediation. Video retrieves lost memories for the child who, through her camera, seeks to find her father.
Editor
Four "seduction ads" placed on cable TV stations invite unexpected responses. This short film is about fantasy and desire in a mediated world.
Four "seduction ads" placed on cable TV stations invite unexpected responses. This short film is about fantasy and desire in a mediated world.
Director
Four "seduction ads" placed on cable TV stations invite unexpected responses. This short film is about fantasy and desire in a mediated world.
Editor
Fact and fiction blur in this faux documentary about a lost woman, Lian, who is searching for her own identity. Lian is manipulated by Dennis, a video editor. He captures surveillance footage of her and manipulates it in an attempt to manipulate and then possess her real life.
Director
Fact and fiction blur in this faux documentary about a lost woman, Lian, who is searching for her own identity. Lian is manipulated by Dennis, a video editor. He captures surveillance footage of her and manipulates it in an attempt to manipulate and then possess her real life.
Director
Binge turns on confession and self-image, using obesity as the main course. Losing her familiar shape to overeating, Lynn Hershman occupies electronic space to announce her despair and her subsequent—and partially successful—diet. It is a fitting medium for such a declaration, for not only is much of self-identity generated by television, but shape, volume, and appearance are rendered abstract by the video effects Hershman employs.—Steve Seid
Director
In Lynn Hershman’s Confessions of a Chameleon the artist shares intimate but highly suspect stories about her past. To cover her tracks, Hershman unswervingly declares, “I always tell the truth.”
Director
Documentary about an art installtion.
Producer
Shadow Stalker outlines the history of Predictive Policing, Digital Identity Theft and the dangers of Data Mining, that uses algorithms, performance and projections to make visible private Internet systems that are increasingly used by law enforcement and promote racial profiling. Drawing on a network of critical thinkers on surveillance and machine learning, Hershman Leeson abstracts the red square zone into a specter that haunts the work. Where one falls on the map in relation to this red square becomes a proxy for who one is-location, a proxy for identity.
Editor
Shadow Stalker outlines the history of Predictive Policing, Digital Identity Theft and the dangers of Data Mining, that uses algorithms, performance and projections to make visible private Internet systems that are increasingly used by law enforcement and promote racial profiling. Drawing on a network of critical thinkers on surveillance and machine learning, Hershman Leeson abstracts the red square zone into a specter that haunts the work. Where one falls on the map in relation to this red square becomes a proxy for who one is-location, a proxy for identity.
Writer
Shadow Stalker outlines the history of Predictive Policing, Digital Identity Theft and the dangers of Data Mining, that uses algorithms, performance and projections to make visible private Internet systems that are increasingly used by law enforcement and promote racial profiling. Drawing on a network of critical thinkers on surveillance and machine learning, Hershman Leeson abstracts the red square zone into a specter that haunts the work. Where one falls on the map in relation to this red square becomes a proxy for who one is-location, a proxy for identity.
Director
Shadow Stalker outlines the history of Predictive Policing, Digital Identity Theft and the dangers of Data Mining, that uses algorithms, performance and projections to make visible private Internet systems that are increasingly used by law enforcement and promote racial profiling. Drawing on a network of critical thinkers on surveillance and machine learning, Hershman Leeson abstracts the red square zone into a specter that haunts the work. Where one falls on the map in relation to this red square becomes a proxy for who one is-location, a proxy for identity.
