(fra artikel på independent.co.uk)
The centrepiece is a conjoined rag doll with two faces projected onto
it: Bowie's and (Tony) Oursler's wife, the abstract impressionist artist Jacqueline Humphries. It is a technique that Oursler, one of the world's
leading video and installation artists, has trademarked. The joint
figure was a by-product of the pieces used to showcase Bowie's 50th
birthday celebrations at Madison Square Gardens in 1997, which Oursler
also directed. "There's a theme of looking back and moving forward to
Where Are We Now?, of abandoning things and carrying things forward. It
was very poignant for David to have that figure from his birthday in the
Secrecy for Bowie's comeback was paramount. Speaking from
his New York studio, Oursler said only "around a baker's dozen" knew
about the whole project: Bowie, his family, producer Tony Visconti,
Humphries, Oursler, his five studio assistants and one or two others -
and they all had to sign a non-disclosure agreement. "Certainly no more
than 20 people knew. My nine-year-old son Jack walked in on us filming
and I joked that David was his babysitter for the day. There were white
knuckle moments worrying if something leaked - it's amazing in this day
and age that nothing did. No one had the slightest idea - what an
amazing birthday gift to the world."
Humphries, who received a thank you email from Bowie just before speaking to The IoS,
added: "I had to keep stopping myself from blurting it out to someone.
It's astonishing it stayed under wraps. I was a bit worried about which
way it was going to go but the response has been overwhelming."
52-year-old artist modestly described her role as "not really doing
much" and said she was thrilled to star in the video. "David is just a
magician. It was a great collaboration between his music and Tony's
(Oursler siger:) "David was thinking about the second character in the video and then
just stopped and looked at me: 'what about Jacqueline?' he asked."
had never appeared in her husband's work with the exception of the use
of her hand. Bowie and Humphries were transformed into "electric
effigies" as Oursler calls them. "I don't like the word 'puppets'."
had experienced the role before. His face graced an effigy of a movie
director which formed part of a three-part installation entitled Switch,
displayed at the Hirsshorn Museum in Washington DC in 1996, barking
orders at invisible actors leaving visitors laughing nervously. Oursler
also designed Bowie's Earthling Tour in 1997, full of large eyeballs
floating around concerts occasionally winking and blinking.
David, Jacqueline, Tony
Flot maleri, "Sort mandag", malet af Jacqueline