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Now I'm playing the victim, now I'm playing the killer, 2018

installation and performances

presented at Cacaofabriek Helmond anf HKU Grad show

 

text by Jorik Amit Galema for Metropolis M, translated to English

 

"Whilst from a blue/white striped tower an admonitory finger is pointing at me, a figure in an orange robe appears and puts down a small pink table. From a pouch he grabs small sculptures, which he puts on the table and then rearranges. Unsatisfied he puts them back in the pouch and disappears into another room of the exhibition. Astonished I witness how Caz Egelie’s (1994) gesamtkunstwerk Now I’m playing the victim, now I’m playing the killer unfolds.         Most of Egelie’s works originate in the 3D program Blender. Inspired by big names from the art canon, like Calder, Brancusi, Hepworth and Oldenburg, he digitally creates objects and animations. When he transfers them from the digital to the physical world, an explosion seems to take place in which sculpture, fashion, video, performance and text stumble over each other. What ties these elements together, are the character that Egelie has developed. Some characters, like the Curator (the figure in orange) and the Critic - who loudly sings pieces from Bernstein’s opera Trouble in Tahiti, are playful references to archetypes from the art world A different character, Cephalophore, is based on sculptures of decaptivated saints. Performed by a man in a blue see through dress and with an abstract object in his mouth, he wanders trough the space, like the exhibition spaces are a nice space for the afterlife."

"And they'll put all their soul behind it,

All their ego, power drive and will and desire behind it,

And they'll throw themselves in.
But they niver will win, they never will win.
They never, never, never, never will win."

- The Critic

 

pictures by Chaïm Dijkstra and Bart Lunenburg