University of Hertfordshire

Stadium: Video Installation

Research output: Non-textual formArtefact

  • Lynne-Marie Marsh (Other)
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Original languageEnglish
Place of PublicationMontreal, Canada
PublisherMusée d'art contemporain de Montréal
Media of outputFilm
Sizevideo installation -size variable
Publication statusPublished - 2008


The significance of Stadium lies in its critical interrogation of the legacy, use and infiltration of historical socialist imagery in contemporary imaging. The work is filmed in the Olympiastadion in Berlin, the infamous site of Leni Riefenstahl's 1936 film Olympia. The work takes the buildings history and form as a starting point for an analysis of the modern idea of “mass” (Kracauer), the fascist conception of “crowds and power” (Canetti) and contemporary digital techniques of replication and multiplication in the virtual worlds of the web, computer games or the Hollywood film industry. Stadium has been exhibited in international museums and publicly funded galleries including; the The Musée d'art contemporain de Montréal –with a monograph catalogue; CONTACT, Toronto International Photography Festival, 53 Art Museum, Guangzhou, China.
The originality of Stadium lies in its exploration of the effects of choreographies of mass spectacle on the imaginary and the political discourse. In ‘The Mass Ornament’, Kracauer speaks of mass performances as cultural manifestations of capitalism’s negation of the individual. The opening ceremony at the 2008 Olympics in Beijing was a recent example. The idea of the mass ornament is echoed throughout Stadium where rhythmic repetitive gesture, anonymity and abstraction are recurring strategies. If Kracauer saw these staged events as “the aesthetic reflex of the rationality to which the prevailing economic system aspires,” Stadium asks how are we to view representations in our own post- capitalist society where, more than negated, the individual is rendered virtually obsolete?
Rigor is evident in the use of a combination of footage including 3D animation and techniques favoured by Riefenstahl, such as crane shots, long circular travelling shots and low-angles. The resulting footage exhibits the persistent legacy of representations of power and control in photography and cinema all the way up to contemporary imaging from video games to epic films.
“Stadium” was funded by the Conseil des arts et des lettres du Québec and the Künstlerhaus Bethanien, International Studio Program, Berlin.


“Stadium” was funded by the Conseil des arts et des lettres du Québec and the Künstlerhaus Bethanien, International Studio Program, Berlin. SOLO EXHIBITIONS: The Musée d'art contemporain de Montréal –with a monograph catalogue, curated by Lesley Johnstone, 2008 Turner Contemporary, Los Angeles, 2008 (contemporary commercial art gallery of national standing) Danielle Arnaud contemporary art, London, 2009 (contemporary gallery of national standing) Staged Events, curated by David Gryn, Artprojx, Screening Event at Prince Charles Cinema, London, 2009 CONTACT, Toronto International Photography Festival, with publication, curated by Bonnie Rubenstien, 2012 GROUP EXHIBITIONS: '8+8 Contemporary International Video Art', 53 Art Museum, Guangzhou, China, 2011 (8 international curators from Iran, Poland, UK, USA, Canada, Germany and China each selected a leading contemporary video artist to present 2 video installations each for this exhibition with symposia) 'Hyperspaces', -3 person exhibition curated by Shannon Anderson, Oakville Galleries, Canada, 2011 (contemporary art gallery with international standing) PUBLICATIONS with essays on “Stadium”: Johnstone, Lesley and Bernard Lamarche. Lynne Marsh, Montréal: Musée d'art contemporain de Montréal and Rimouski: Musée régional de Rimouski, 2008 “projects for a small world” Public, no. 38, artist project no. 11, 2009 REVIEWS: Murray Whyte, “Oakville Gallery’s Hyper Spaces” Toronto Star, Jan 4, 2012 Todd, Jeremy. “What Are We Now? On Stadium and Vox Pop”, BlackFlash, Fall 2009 Jagr, David. “Lynne Marsh”, Canadian Art, Vol. 26 no. 2, summer 2009 Campbell, James D. “Lynne Marsh”, Border Crossings, no. 109, 2009, p. 84-86 Redfern, Christine. “Where de we fit in? Canadian artist Lynne Marsh’s installations at the MAC question the individual’s position within mass society”, The Montréal Gazette, Jan. 2, 2009, p. E5 Dewolfe, Stacy. “Surrounding herself”, Montréal Mirror, Jan. 29-Feb.4, 2009
, p. 46 Kilston, Lyra. “"Lynne Marsh" at Musee d'Art Contemporain (Montréal)”, Modern Painters, Nov. 2008 Hochereau, Alain. “Espaces réinventés”, Voir Montréal, Nov. 6-12, 2008 Yates, Carolyn. “The Art of Landscaping”, The McGill Tribune, Montréal, Nov. 18, 2008 Cloutier, Mario. “Le corps architecte au Musée d'art contemporain”, La Presse, Montréal, Nov. 7, 2008 Samson, Véronique. “Coversation avec l’espace, Le Musée d’art contemporain de Montréal accueille Lynne Marsh et ses installations vidéographiques.”, Le Délit, Montréal, Nov. 11, 2008, p.14 Charron, Marie-Éve. “Une sale de danse, un stade, un studio de television et vous” Le Devior, Montréal, Nov. 22, 2008, p. E8 Mavrikakis, Nicolas. “Portrait de l’artiste en Magicien”, Voir Montréal, Nov. 27-Dec.4, 2008, p. 37 Fadden, Robyn. “Found in space”, Hour, Montréal, Dec. 4-10, 2008 Frank, Peter. “Falling Together”, LA Weekly, Apr. 9, 2008



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