Adam Chad Brody
Adrian Buschmann
Adrian Piper
Adrien Chevalley
Aids-3d
Alex Hubbard
Ali Kepenek
Amy Yao
BFFA3AE
Bless Oscar Magnuson Mykita
Brock Enright
The Bruce High Quality Foundation
Charlotte Herzig
Chris Succo
Christine De La Garenne
Christopher Füllemann
Dan Shaw-Town
Daniel Keller
Dave Mcdermott
David Adamo
David Hendren
Davide Balula
Debora Delmar Corp.
Duncan Malashock
Ed Fornieles
Emmy Skensved
Evan Gruzis
Frank Lloyd Wright
Fritz Köthe
Gabriel Lester
George Egerton-Warburton
Gilles Furtwängler
Grit Hachmeister
Guillaume Pilet
Haley Mellin
Halina Kliem
Hans Isaksson
Hayal Pozanti
Hunter Chamberlain
Iris Touliatou
Ivan Comas
Jala Wahid
James Howard
Jan Håfström
Jason Simon
Jean-Luc Godard & Anne-Marie Miéville
Jean-Sébastien Grégoire
Jedediah Caesar
Jen Denike
Jens Einhorn
Jim Lee
John M Armleder
Jota Castro
Judith Braun
Julia Colavita
Juliana Cerqueira Leite
Langundtroia
Leonhard Hurzlmeier
Louisa Gagliardi
Lucas Jardin
Lucie Fontaine
Luke Barber-Smith
Manor Grunewald
Marc Bijl
Marcus Knupp
Margo Trushina
Marguerite Humeau
Marianne Vlaschits
Mark Titchner
Markus Amm
Marlene Stark
Matt Connors
Matthew Stone
Maximiliam Arnold
Mie Olise
Nathaniel Rackowe
Nazafarin Lotfi
Neil Beloufa
Nick Oberthaler
Nicolás Guagnini
Niels Sievers
Otto Piene
Paul Cowan
Pauline Beaudemont
Pauline Boudry & Renate Lorenz
Petros Moris
Piotr Łakomy
Rainer Ganahl
Ramaya Tegegne
Richard Frater
Rindon Johnson
Robert Powell
Roman Liška
Sarah Oppenheimer
Sebastian Black
Sebastian Lloyd Rees
Selina Grüter & Michèle Graf
Shade Therét
Shana Moulton
Shezad Dawood
Sister Corita Kent
Torben Ribe
Ulrich Erben
Vera Kox
Wyatt Kahn
Ylva Ogland
Adam Chad Brody
Adrian Buschmann
Adrian Piper
Adrien Chevalley
Aids-3d
Alex Hubbard
Ali Kepenek
Amy Yao
BFFA3AE
Bless Oscar Magnuson Mykita
Brock Enright
The Bruce High Quality Foundation
Charlotte Herzig
Chris Succo
Christine De La Garenne
Christopher Füllemann
Dan Shaw-Town
Daniel Keller
Dave Mcdermott
David Adamo
David Hendren
Davide Balula
Debora Delmar Corp.
Duncan Malashock
Ed Fornieles
Emmy Skensved
Evan Gruzis
Frank Lloyd Wright
Fritz Köthe
Gabriel Lester
George Egerton-Warburton
Gilles Furtwängler
Grit Hachmeister
Guillaume Pilet
Haley Mellin
Halina Kliem
Hans Isaksson
Hayal Pozanti
Hunter Chamberlain
Iris Touliatou
Ivan Comas
Jala Wahid
James Howard
Jan Håfström
Jason Simon
Jean-Luc Godard & Anne-Marie Miéville
Jean-Sébastien Grégoire
Jedediah Caesar
Jen Denike
Jens Einhorn
Jim Lee
John M Armleder
Jota Castro
Judith Braun
Julia Colavita
Juliana Cerqueira Leite
Langundtroia
Leonhard Hurzlmeier
Louisa Gagliardi
Lucas Jardin
Lucie Fontaine
Luke Barber-Smith
Manor Grunewald
Marc Bijl
Marcus Knupp
Margo Trushina
Marguerite Humeau
Marianne Vlaschits
Mark Titchner
Markus Amm
Marlene Stark
Matt Connors
Matthew Stone
Maximiliam Arnold
Mie Olise
Nathaniel Rackowe
Nazafarin Lotfi
Neil Beloufa
Nick Oberthaler
Nicolás Guagnini
Niels Sievers
Otto Piene
Paul Cowan
Pauline Beaudemont
Pauline Boudry & Renate Lorenz
Petros Moris
Piotr Łakomy
Rainer Ganahl
Ramaya Tegegne
Richard Frater
Rindon Johnson
Robert Powell
Roman Liška
Sarah Oppenheimer
Sebastian Black
Sebastian Lloyd Rees
Selina Grüter & Michèle Graf
Shade Therét
Shana Moulton
Shezad Dawood
Sister Corita Kent
Torben Ribe
Ulrich Erben
Vera Kox
Wyatt Kahn
Ylva Ogland
GABRIEL LESTER
IMAGES
INFO

IMAGES
INFO
"Allow me to explain. I agree that man is primarily a creative animal, destined to strive consciously toward a goal and to engage in the art of engineering, that is, externally and incessantly building new roads for himself wherever they lead. But sometimes he may want to swerve aside precisely because he's compelled to build these roads, and perhaps also because, no matter how stupid the spontaneous man of action may generally be, nevertheless it sometimes occurs to him that the road, as it turns out, almost always leads somewhere or other, and that the main thing isn't so much where it goes, but the fact that it does, and that the well-behaved child, disregarding the art of engineering, shouldn't yield to pernicious idleness which, as is well known, constitutes the mother of all vices. Man loves to create and build road; that's indisputable. Buy why is he also so passionately fond of destruction and chaos?" - Fjodor Dostoevsky's "Notes from the Underground", 1864

*The Man of Action (Returns)* by Gabriel Lester is a work that somehow tries to visualize the theory that Dostoevsky deposits in "Notes from the Underground" - that of the 'man of action', being a person who has to act, who feels the pressure to act, also without a necessary benefit and who is not hindered doing this, by too much knowledge or too much awareness of his own actions
In fact what *The Man of Action* does, is performing magic tricks in mime. The action of *The Man of Action* is much like a ritual: a narrative gesture without explicit narrative. By fusing two illusion based actions (magic and mime) the action becomes meaningless - thus reduced to mere action. The presented composition of magic and mime reduces the presentation into pure action, devoid of any meaning.
Here film does not serve as a basic material or means of transportation of a history, but as a visual medium in its purest form. The reduction and disentanglement of an essential part of what we understand as „film", namely the sending of a message, is quoted by Dostoevsky's question: „ But why does he (mankind) love, up to passion, also the destruction and the chaos?" Because here, film without action turns into the very own form of chaos, the dissolving of any order.
Gabriel Lester has performed this conceptual work of video art twice. First he performed it in Iceland in 1997 as *A Man of Action*, and again in 2007 as *A Man of Action Returns* in the Peruan Andes. The idea of repetition was already there, before travelling to Peru and without this work being a rehearsed performance, Lester's unconsciously performed movements, in front of those spiritual landscapes, are very similar to each other in both films.
Therefore *A Man of Action (Returns)"* can be understood as a gestured action that can be indefinitely re-executed and - in contrast to a repeated rehearsed performance - it is based on the subconscious choice of representation possibilities of the artist's magic. Lester presents this re-enactment that can also be understood as a mirror of time, as the magic performer and by this presents the artist as an artist in its original sense.