The storytelling of Tris Vonna-Michell

The storytelling of Tris Vonna-Michell


The shortlist for the Turner Prize 2014 was unveiled last week. Novelty, none of the nominees is well-known outside the contemporary art world. The shortlist is made up of Ciara Philips, Duncan Campbell, James Richards and Tris Vonna-Michell. The four are difficult to categorise, they use different techniques including installation, film, storytelling and screenprinting. In anticipation of the awards ceremony in December, Little artnecdotes introduced the four nominated artists. Englishman Tris Vonna-Michell (1982) will bear the brunt.

Vonna-Michell has been nominated for his solo exhibition ‘Postscript II (Berlin)’, which was held at the gallery Jan Mot in Brussels 2013-2014. The artist is known for his multilayered narratives through live spoken word performances and sound compositions, which are accompanied by photocopies, slide projections and other ephemera in order to provide a visual script. His narratives come from historical research and social observation, mixed with personal anecdotes. His works are instigated by how the perception of this historical material is influenced by the conditions of our present.

His works are characterised by a strong difference in the rhythms of the flow of the narration and the images, the speed of the voice and its often hurried delivery. This creates a stark contrast with the slow presentation of the slides. Vonna-Michell explained this aspect:

‘I have always felt that my speech delivery and my editorial process of images each have their own natural rhythm. I keep them independent, but also allow them to be harmonious at the level of interpretation. I always speak fast, which might create a certain frustration for the viewer, but there is a slower and more delicate pace for the images.’

Vonna-Michell’s narratives are pre-structured as well as being spontaneous, since it can be influenced by the audience present at his performances. They can control the duration and progression, as well as the flow of the story. Therefore new stories, associations and images can be created. Vonna-Michell’s works are context-specific and can extend over years.

Auto-Tracking: Ongoing Segments 2008. Performance at Jan Mot, Brussels. Courtesy Tris Vonna-Michell and Jan Mot Brussels/Mexico City

Auto-Tracking: Ongoing Segments 2008. Performance at Jan Mot, Brussels. Courtesy Tris Vonna-Michell and Jan Mot Brussels/Mexico City