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David Rosetzky

b. 1970

The human spirit is adrift in a world of reflection. In David Rosetzky’s videos, people struggle to find meaning in lives surrounded by the plush accoutrements of designer living, while the artist envelops the viewer in elaborate three dimensional installations. Although Rosetzky’s work carries weighty themes the artist’s intentions remain ambiguous – are these videos a condemnation of the world of appearances? Or are they simply a portrait of our times?

Rosetzky’s Justine [2000] featured a woman in a stylish apartment listening to a vintage reel-to-reel tape player as a cat sits on a couch. A languid monologue voice-over about a crisis of self-image provides a hypnotic accompaniment, yet leaves the audience wondering if the woman on screen was the same female voice delivering the monologue. Weekender [2001] expanded this approach with a cast of characters discussing their problems of communication and interaction in extended voice-overs. As the deliberately clichéd action switches from the interior of a holiday house, to the cast walking in slow motion through a forest to a beach, the monologues continue. If Weekender explores the denial of narrative closure, then Rosetzky’s Summer Blend [2000] was his most explicit exploration of the aesthetics of advertising – a woman applying face cream, a man adjusting his hair – all set to trance inducing electronic lounge music. 

The installation for Rosetzky’s Custom Made [2000] began the artist’s more elaborate excursions into sculptural space. The two-screen video work was shown on two facing walls of paneled wood that featured two recessed seating areas akin to confessionals. The videos replayed sequences shot in the set with actors reciting monologues concerned with doubt and uncertainty. While the content of the video was similar to that of his single channel works, the installation created an ambiguous atmosphere that blurred the line between the viewer and the video. Rosetzky explored these effects further with pieces such as the three-screen Untouchable [2003] which placed video screens in a series of recessed boxes, and his Maniac de Luxe [2004] and Maniac de Luxe (Foyer), [2004]was the apotheosis of this approach utilising an entire gallery room carpeted and lit to match the locations of the video.

Andrew Frost
Other solo exhibitions 

Selected solo exhibitions: Worlds Apart, Sutton Gallery, Melbourne, 2006. Self Defence, Contemporary Art Centre of South Australia, Adelaide, 2005. Without You, Kaliman Gallery, Sydney, 2004. Commune, Studio 12, Gertrude Contemporary Art Spaces, Melbourne, Photographs, Kaliman Gallery, Sydney, 2003.

Other group exhibitions 

Selected group exhibitions: Crowds / Conversations / Confessions, Art Gallery of Alberta, Edmonton, CanadaAdelaide Biennial of Australian Art: OE21st Century Modern•, Art Gallery of South Australia, Adelaide, South Australia, 2006.Remote Control, National Gallery of Victoria, Melbourne, Press pause: Recent Australian Video installations Queensland Art Gallery, Brisbane, Pitch Your Own Tent: Art Projects / Store 5 / 1st Floor, Monash University Museum of Art, Melbourne, 2005. 

Selected publications: Piercing the subject: 21st c anxiety in the works of David Rosetzky, Eyeline, No. 57, 2005 Drawn-out control quest, The Age, December 11, 2004. Trouble in Paradise, Australian Art Collector, Issue 28, April- June 2004, The last days of Disco, catalogue, Art Gallery of South Australia, Loop-back, New Australian Art in Berlin, Artlink, Vol. 23, No. 3, 2003.