As I was invited to participate in the exhibition series Erratiker, I interpreted it as a project which stresses the aspect of displacement and wandering.
Contrary to the English word erratic (wanderer), the German word emphasizes the aspect of finding: Findling, something which has been found, but which seems to be strangely displaced. We all have found ourselves feeling displaced: Feeling like a Findling, waiting to be found and put into a context to which we belong, a context which gives us space, even a narrative. For me, born in Korea but raised as Norwegian and having found my home in Germany, displacement is part of my biography. But displacement is but a point of view, because the Findling never needed to be found: it was never lost or displaced. It is simply a wanderer, moved by ice and wandering through time.
Inside the container which I see as a Findling in its own right, I explore narrative structures which refer to the idea of time as single moments put together in the shape of a continuous line. In the four large scale textile works, the thread’s point-by-point movement through the fabric is a visualization of time and thereby a trace of our concrete actions. If the textile works are maps of my existence, the double layered photograph is a snapshot.
Als ich dazu eingeladen wurde, am Projekt Erratiker mitzuwirken, interpretierte ich es als ein Projekt, das Deplatzierung und Wandern thematisiert.
Im Gegensatz zum englischen Wort für Findling, erratic (Wanderer), betont das deutsche Wort den Aspekt des Findens: Findling, etwas was gefunden wurde, aber seltsam fehl am Platz wirkt. Wir alle haben uns sicher einmal selbst deplatziert gefühlt: Wie ein Findling, darauf wartend, gefunden und in einen Kontext gerückt zu werden, einen Kontext der uns einen Raum gibt, gar ein Narrativ. Für mich, die in Korea geboren, in Norwegen aufgezogen wurde und in Deutschland eine Heimat fand, ist Deplatzierung Teil meiner Biografie. Deplatzierung ist jedoch nur ein Gesichtspunkt von vielen. Der Findling hatte es etwa nie nötig, gefunden zu werden, denn er selbst war niemals verloren oder fehl am Platz. Er ist einfach ein Wanderer, bewegt vom Eis, wandernd durch die Zeit.
Ich betrachte den Container selbst als Findling. In seinem Innern erkunde ich Erzählstrukturen, die auf Zeit als einzelne Momente, die in die Form einer kontinuierlichen Linie gebracht wurden, Bezug nehmen. In vier großformatigen Stoffwerken visualisiert die Punkt-für-Punkt-Bewegung des Fadens durch den Stoff die Zeit und ist mithin eine Spur unserer konkreten Handlungen. Insofern kartieren die Stoffwerke unsere Existenz und die mit Doppelebenen realisierten Photographien entsprechen einem Schnappschuß.
Solo exhibition at Moss Art Association, 2015
In the project “Wie bundle Fetzen hängen wir im Wind” I explored abstract narrative structures: with a private photo archive as raw material I worked with the overlapping of two and two layers, raising the question: what does it means to be doubly exposed? The installation in its finished form consists of montages, archival news phootage and textile works, and examines the understanding of the individual in modern society. The title “Wie bundle Fetzen hängen wir im Wind” (As colorful rags we hang in the wind), refers to Montaigne’s essay in which he describes identity as something we move in and out of and which is constantly changing.
I prosjektet “Wie bunte Fetzen hängen wir im Wind” utforsket jeg abstraherte fortellergrep : med private fotoarkiv som råmateriale arbeidet jeg med overlapping av to og to lag, med spørsmålet om hva det innebærer å være dobbelt eksponert. Installasjonen i sin ferdige form består av fotomontasjer og tekstiler, og undersøker forståelsen av individet i det moderne samfunn. Tittelen ”Wie bunte fäsen hängen wir im Wind” (Som fargerike filler henger vi i vinden), referer til Montaignes essay hvor han beskriver identitet som noe vi beveger oss inn og ut av og som er i konstant forandring.
The installation was shown at House of Foundation 2014
“Wobbly” (2011), duration 17:56, HD video with audio, recorded at Experimental Television Center in Owego, NY
“Hairpiece” (2011), duration 10:00 min, HD video with audio, recorded at Experimental Television Center in Owego NY
“Fuzzy” (2011) duration 16:06, HD video with audio, recorded at Experimental Television Center in Owego, NY
“All of me” #2 (2011) duration 02:00 min, HD video with audio, recorded at Experimental Television Center in Owego, NY
Video work based on Mats Claessons reworking of Arne Nordheim‘s piece “listen” (1972), here performed by Trond Schau
Duration: 08:00 min, HD video
Research material for the work was produced at Experimental Television Center, Owego NY
The work was produced with the support of the Arts Council Norway
Jeju (2013) #1-3
NYC (2007) #1-17
Eidsbugarden #1-7 (2007)
Meister lampe #1-4
Public and corporate collections
“Eurasion tango” (2007) by Ayuo, 04:04 min, commissioned by pianist Ellen Ugelvik
Commissioned by Bodø Sinfonietta in collaboration with composer Lars Petter Hagen. It was produced as a result of a two week trip in the north of Norway, collecting material from the same region and places where the piece later toured.
The work premiered at The Nordlys Festival, toured in the north of Norway, and was performed at the Ultima Festival for Contemporary music in Oslo.
“Vox balaenae” (2007), George Crumb, commissioned by Trond Schau
“The short way from red to blue. The long way from blue to red” (2006), duration 02:00 min, DV video
“All of me” (2006) duration 01:53 min, DV video with audio
“DMZ” (2006) original duration 04:30 min, DV video with audio
Unn Fahlstrøm continues her exploration of the material possibilities of the video medium in the exhibition Aesthetics of Separation. Three video works are on display, “All of me”, “The short way from red to blue. The long way from blue to red” and “DMZ”, as well as printed stills from the films.
Fahlstrøm has previously collaborated with several composers to confront the visual– always emphasising precision, stringency and formal accuracy. The perception of depth is opposed by concealing the visible information and distorting the relationship between form and background. Thus, the artist accentuates the superficiality of the images, but at the same time integrates them into new sensuous relations
Concurrently, Fahlstrøm has adopted various musical ways to structure her images, and the videos Houndred rounds (2003), Non lo so (2004) and I reread the Odyssey last night (2005) are articulated almost like rhythmic flows: The tension between sound and sight mobilises emotional energy from one sense to the other – from the eye to the ear and back again. Lastly, Fahlstrøm’s most important mode of operation is the spectator’s sensual interplay.
In this perspective Aesthetics of Separation might appear as a step in another direction: While Fahlstrøm previously has founded her worked on more sensual and intuitive principles, the aesthetic reflection is now explicited with a pronounced theme. The visual interplay between the works constitutes a soundboard that encourages a total understanding, yet does not distract from the material qualities of the individual pieces.
On the one hand, Fahlstrøms opens a more intimate sphere of references which easily can be interpreted as personal: “All of me” displays the artist’s lips while she sings, whereas “DMZ” is based on video recordings from the demilitarised zone at the border between North- and South-Korea. These signs of sentimentality and nostalgia are counterbalanced by the absoluteness of Fahlstrøm’s formal criteria. What immediately appears as a personal motive does not acquire the character of univocal affectivity, and is, in fact, represented in a tone of discreet humour.
Aesthetics of Separation plays with complex paradoxes that challenge the spectator by questioning how the visible is brought to be seen. “The short way from red to blue. The long way from blue to red.” presents the scale of colours as an asymmetric motive. As a colour print on aluminium, it depicts a horizontal configuration that can be perceived from left to right as one reads, but also the other way. Apparently, the same motive can be found on screen as to separate phase transitions. There are no exchanges or blurring between the isolated halves. They follow their own courses, but still the red and the blue finally change positions. The exhibition space is therefore the scene of a reflective process where the qualities of the works resonate and circulate through different dimensions and directions without the support of material continuity.
Aesthetics of Separation is the staging of a longing that immediately changes character to become something else. Through imperceptible nuances it shifts from being experienced in passive silence to become a repeatable performative potential. This longing is therefore doubled – it is motivated and remotivated, to be played out in new generous gestures and movements.
Camilla Shim Winge
An installation using an exhibition space with 3 different rooms to create the sensation of a story stretched out in space using leaking sound from 8 speakers and the composition of 4 video tracks. Using found footage from Godard’s film “le mépris”; the installation captures the characters in a dream-like labyrinth of echoes and memories.
Videoinstallation, first shown at Atelier Nord 2004, Oslo
Camille Norment (US)
Brian Conley (US)
Petra Lindholm (SE)
Unn Fahlstrøm (NO)
Alexander Rishaug (NO)
Marit Paasche (NO) text
“Noise/Space deals with the use of video, space and sound in opposition to the mass media’s use of technology. The works demand the viewers engagement on time and space. They create a situation of conflict rather than a harmonic relation between noise/space and space/noise. They also point to conflicts outside the white cube. The exhibition looks at artistic strategies which employ tools of distribution that are similar to mass media culture, but the result is quite different. Music might be the art form most exposed to commodity fetishism and commercial adjustment the last years. The enormous mass culture has still made space for subversive strategies. Is there now easier for artists to make use of these distributing means than before? And if so, how can the gallery space facilitate this production and be a part of this network? If the relation to technology is normalized, one has to consider it as a tool. What artistic strategies are more resistant to the fetishizing of art as commodity? Can noise art be considered as a sort of last defense because it is so unavailable and at times uncomfortable?
The exhibition presents concrete space- and sound experiences, personal narratives where sound and image are intertwined, and an analytical and complicated use of video editing and soundscape push the boundaries of both medium and perception. The works are physical sound situations and works that manifest illusions of space. The contributors have in common a great degree of control of the instruments involved, a workmanship that is recognizable in the representation and production process.”