Evian Disesase

Actor Gwendoline Christie narrates a fragmented tale about absent characters.

Orchids,… centers on an animated video in which Marten sets forth a sanitised and alluring world of free-floating and fragmentary objects. Excised from normal context and imbued with an impossible cosmetic sheen, these crystalline forms are conjured in colours that range from the surreally heightened to the deliberately banal. A line of toy-like objects – a train, a giraffe on wheels, a boat – trundles along on an impossibly turquoise plane. Parasitically followed by a swirling black fly, the unfolding narrative is one of production, consumption and saturation. Elsewhere, the naked human backside of the title (cropped and anonymous) is shown with a luridly-glowing orchid tucked between its buttocks. At points, the imagery takes on the semblance of a painting or diagram, both formulaic ‘analogues’ of reality, like the video itself, implying the knotty weight of a Cézanne still life.

“The faster you break it the faster we make it,” says the wooden column at one point, going on to acknowledge the bounteous economic logic of this reality with the observation that “production is sealed in gold.”Early on we see the black-and-white striped house Adolf Loos designed for Josephine Baker. It’s a cardboard model, of course; the plans were never realized. The house is an idea, an image, a virtual presence, a possibility, a provocation. Later in the film it reappears, reconfigured in different materials with a different range of qualities and surface finishes. “Why do so many things look the same, and only one of them is good?” asks a female voice. This is not the column’s voice but that of someone who sounds much like Marten herself. It is, in fact, her sister, one Marten speaking another Marten’s words. After all, in order to manufacture glamour, a little plagiarism is essential. And this process—call it borrowing, copying, paying homage, whatever—is both violent and comic.