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Artist in Residence 2009:
Inger Lise Hansen
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IT’S ABOUT TIME
Inger Lise Hansen’s work belongs to a tradition of experimental film that eschews the narrative constructs of mainstream cinema and documentary’s to objectivity. It’s a form of audio-visual art that also has little to do with video’s reliance on the confessional monologue or the in-your-face performance that is too often little more than a simulation of engagement. Drawing upon structuralist/materialist film’s insistence upon the privileging of the cinematic event, the phenomenology of light projected through a celluloid strip, whilst embracing the poetic inventiveness of artists like the Brothers Quay or Jan Svankmajer, Inger Lise Hansen has developed a personal, driven language of moving images. And it’s about time, at every level.
The time it takes to painstakingly record the disintegration of a building, piece by piece. The time that is accelerated by the process of stop-frame animation, whereby events in the real world- the changing light of the sky, the sudden arrival of a bird or an insect- are mapped onto the constructed time of the animated event. The time it takes to project the completed animation and the time it takes the viewer to be absorbed into the space and time of the artwork.All film and video is, of course, concerned with time, with its registration, deconstruction, reconstruction, but whereas many artists are content simply to occupy time, Inger Lise Hansen uses her medium to make time, and we the audience must take time, submit our quotidian schedules to the subtle twists and inversions of her constructed universe.
It has been stated before that artworks can function like time-machines; machines for making time, machines for transporting the viewer out of an objective relationship with time passing and into subjective experience of another time, within whose parameters a space opens up that is otherwise inaccessible. The place that Gaston Bachelard describes in the “Poetics of Space”- a territory of daydreams, phantasms. One can see historical precedents for Inger Lise Hansen’s use of imagery in avant-garde films of earlier eras. The surrealism of Bunuel and Maya Deren; Michael Snow’s infusion of the space of the image with an attenuated dramatic resonance based on a gradual and compelling unfolding; the absurd deconstruction/celebration of causality in Fischli & Weiss’s “The Way Things Are”. In her recent works, Hansen synthesises these influences, drawing out the aspects that will best serve her personal vision, transforming them into grammatical elements in an evolving language that is her own.
In an era of globalisation, so-called deterritorialisation, a time when architecture becomes destabilised and provisional, Inger Lise Hansen’s films are like small parables about our relationship to space-in-time.
The centrality of memory as a bearer of identity and personal history, coupled with an apparent disregard for history in a time of rapid recycling can be taken as core motifs for our post-millennial culture.
The imagery in Hansen’s recent films evoke both nomadism and a longing for a lost innocence, an era of optimism in our recent history that has been swept away by the brutal realities of the last two decades.As we become absorbed in the playful destruction of a dwelling and marvel at the artist’s inventiveness in her maximisation of simple means, we are also made aware that this event is analogous to destructive events in the real world as well as in the world of Hollywood entertainment.
If the average contemporary Hollywood blockbuster is little more than a catalogue of spectacular effects that celebrate destruction in a fit of pornographic glee, numbing us to the brutal realities of forced migration and genocide, then Hansen’s work, by laying bare its own constructed illusions is a poetic, aesthetic warning to us.
It’s about time the film industry stopped amusing us to death. It’s about time the violence and destruction ended. It’s about time the works of an original, inventive artist gained wider recognition in her homeland.
Jeremy Welsh, Bergen, August 2001 |
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 Autodidacter 2006
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 Confessional 2004
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Objects? 2006 |
Jung-Jang 2009
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Jung-Jang 2009
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Jung-Jang 2009
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Artist in Residence 2009: Karmen Dada
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Nach einem ersten Versuch im Jahr 2007 kann Asifa Austria im Jahr 2009 wieder eine GastkünstlerIn einladen.
Der über die Aussenstelle Asifakeil gegebene Zugang zum AiR-Programm des quartier 21/MQ beinhaltet einen zweimonatigen Aufenthalt der Gäste in den schönen und begehrten Studios auf dem MQ-Gelände.
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Dances macabres 2004
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| In den Monaten März und April ist auf Einladung von Asifa Austria die kroatische Künstlerin Karmen Dada zu Gast, die in unterschiedlichen Kunstprojekten, Ausstellungen, Installationen und Medienarbeiten ihre Vielseitigkeit unter Beweis gestellt hat, auch ihre Ausbildung umfasst unterschiedliche Bereiche wie klassischen Animationsfilm, Video und neue Medien, aber auch bildende Kunst, Mode und Philosophie.
Karmen Dada wird im April im Asifakeil ausstellen, sie präsentiert ihr zweiteiliges Work-In-Progress "Jung-Jang". Ausgehend von ihrer Beschäftigung mit C. G. Jung hinterfrägt sie das Medium der Animation an sich, das Konzept und die Essenz von Bewegung und Transformation. Ihr Interesse gilt dabei nicht dem klassischen Animationsfilm, sondern einer konzeptionellen Animation.
Anhand einer Reihe von Begriffspaarungen illustriert die Künstlerin ihre Auffassung von Dualität als auslösende Kraft zwischen Aktivität und Blockade, damit auch als Grundlage der Animation, der Entstehung einer künstlichen Bewegung zwischen zwei starren Bildern.
Im ersten Teil der Ausstellung wird eine Objektinstallation in Form einer blockierten Wippe mit einem der folgenden Begriffspaarungen beschriftet und im asifakeil aufgebaut.
Der zweite Teil besteht aus einer Interviewserie zum Thema Aktivität/Blockade mit Besuchern des Museumsquartiers, deren Ergebnisse dokumentiert und in Asifakeil und am Gelände des MQ veröffentlicht werden.
Begriffspaare:
Possession - Desire
Loss - Growth
Tension - Peace
Misunderstanding - Understanding
Blockade - Motivation
Complexes - Identity
Masks - Self
Subconsciousness - Consciousness
Servility - Expression
Passive - Active
Unrealization - Realization
“i cant get the term 'conceptual animation' out of my head! i have a strong desire to make an experiment with the form/media of animation itself, possibly not using any (so far) classical form of animation, but animation as an idea/concept of motion and/or transformation.“ Karmen Dada
--> Originaltext Karmen Dada: Jung-Jang
--> Dokumentation: Jung-Jang
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