18 b/w photographs
A photographer was hired by the artist to shoot pictures in rapid succession of the artist falling to the ground in an empty gallery space in Copenhagen. Shooting was later displayed in the same gallery space in which the photographs were shot.
Shooting plays with notions of photography, reality, time, and death. With the artist cast as the victim of a rapid-firing camera, and the photographer as a hired assassin, Shooting echoes countless scenes in popular crime movies. At the same time, with each image depicting only a fraction of the action, the work calls to mind the early motion studies of Étienne-Jules Marey and Eadweard Muybridge, which is also where the historical developments of photography and gun technology first converge.
At the same time, Shooting is a playful investigation of the role of the artist and the possibility of out-sourcing parts of the creative process. As seen in other works by Brøgger from this period, new systems of producing and reproducing information are tested.
A small but significant group of images in art history deals with shootings, from Goya through Manet to Robert Capa and, later on, Chris Burden. While the first two powerfully captured important historical executions at close range, paradoxically in the slow medium of painting (in 1814 and the 1860s respectively), Capa's photograph titled Loyalist Militiaman at the Moment of Death, Cerro Muriano, September 5, 1936 (often known simply as “Falling Soldier“) is one of the most widely reproduced war photographs. Capa captured a soldier at close range, dramatically collapsing backwards, supposedly struck by a fatal bullet. Still, investigations have indicated that the photo was likely staged. A few years after Stig Brøgger's Shooting, Chris Burden produced his controversial piece Shoot, in which the artist is shot in the arm by an assistant, and the piece 747, in which the artist is seen firing a gun at a passenger jet taking off from Los Angeles airport.