JULIKA RUDELIUS. Your blood is as red as mine. 12.11.2004 – 11.12.2004 

Press Release
Exhibition Views

english / deutsch

Gallery Reinhard Hauff is proud to announce the first presentation in a German gallery of the video works and related photographs by Amsterdam based artist Julika Rudelius (* 1968, Cologne). Rudelius’ work has recently been shown in important museum contexts – such as the Tate Modern, London, the Centre Culturel Suisse, Paris, the Kunsthaus Glarus, Switzerland, the Stedelijk Museum Bureau, Amsterdam, and the Franz Hals Museum in Haarlem.

Julika Rudelius examines aspects of human behaviour and the stereotyping and prejudist attitudes with which we tend to consider people from foreign cultures, and marginal groups within our own society. She also exposes the „Other’s“ need to integrate, to identify with a group and to cover up cultural differences and the low social status associated with them. In her unsettling video sequences the artist studies everyday interaction: appearance, clothing, communicative codes, facial gestures, body language, age and gender specific attitudes that we have come to label „typical“ of various social or ethnic groups. Formally, her videos look like documentaries which only on second view can be recognized as sequences and scenarios which have been subtly staged by the artist. Translating reality into a „fiction borrowed from everyday life“ (Vanessa Joan Müller), her protagonists are brought about to act out our preconceived ideas and to confirm our views and expectations of their aspirations, hopes and values. The viewer thereby gets confronted with his/her own tendency to observe in private the other from a point of view which is culturally coloured by prejudist ideas yet in public mostly politely disguised and politically correct.

„Your blood is as red as mine“ is the central piece of the exhibition at Galerie Reinhard Hauff, and was created in the course of a six month scholarship which the artist focussed on the North African and Surinam immigrant neighbourhood of Amsterdam. In the video,
Rudelius interviews in a seemingly naive manner blacks from that neighbourhood on the subject of their skin colour. But in all ist disarming, pseudo-documentary manner are mirrored the racist views with which blacks are confronted on a daily basis in a white dominated society. Parrallel to the videos, Rudelius shows photographs of blacks as businessmen, hanging out in run-down neighbourhoods, posing as hudlums waiting, axe – in-hand, at a street corner, or sitting barefoot on the dirt floor of an African hut. The underlying touch of folklore in each of these photos stresses that an unbiased view of the „Other“ isn’t possible in the tension between „Us“ and „Them“.