Genealogies (2016) suggests the artist’s associative thinking by combining novels, films, images, advertising and soundtrack from multiple sources into a baroque invocation of image and artwork provenance, remake and copy. Siegel’s video traces the sculptural, gendered iconography of architecture and the female body, querying how these are visualised in cinema, and harnessed by advertising and music videos. Wilhelm Jensen’s novella Gradiva (1902), Freud, de Chirico, Rossellini, Curzio Malaparte, Moravia, Resnais, Robbe-Grillet, Godard, Pink Floyd and the Beastie Boys, Hugo Boss and Persol; Genealogies maps a broadly layered trajectory of images and ideas shared and reprised. Speculating on homage, influence and originality, Siegel draws together a genealogical lineage of adaptation, appropriation and recurrence stripped of hierarchical order.

The video forms part of a constellation of works by the artist – ranging from video installation and performance to works on paper – that take on Jean-Luc Godard’s Le Mépris (‘Contempt’; 1963), focusing on the film’s famous location, the Villa Malaparte on Capri, and the figure of the female protagonist Camille, played by Brigitte Bardot. The network of connections established raises questions about the economies of authorship and gender as well as the relationship between objects, cinematographic and architectonic space.

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