The title alludes to Buñuel’s surrealist film The Discreet Charm of the Bourgeoisie, which parodies the spectacle and self-appointed entitlement of the bourgeoisie. This piece, however, concerns the discreet charm of the banking system, or rather, the infrastructures that are created in relation to capital and finance.

Using a scale model of the kind frequently used in theatre as a demonstration tool between directors and actors, or between production teams and investors, an economist (who may possibly be an actor) explains various financial strategies and instruments.

The relationship between drama, model, stage and reality is constantly negotiated with the viewer. The perspective shifts between the gallery space we are sitting in, a model of the same space, and the film’s representation of this space.

The Discreet Charm with Pamela Carter (playwright), Ismail Ertürk (cultural economist), Anna Heymowska (set designer), Hamadi Khemiri (actor) was first exhibited as part of the group exhibition The End of Money (2011), curated by Juan A. Gaitán at Witte de With, Rotterdam. The work is in the collection of Malmö Konstmuseum since 2013.

Selected Reviews:

• Art Forum: “Review: 6th Göteborg International Biennial”, by Sinziana Ravini, December 2011
• Artforum.com: “Critic’s Pick: The End of Money” by Hilde van Gelder, July 2011