Schillefilm

Chopin & Tellefsen – hjemme er hvor hjertet er

Chopin & Tellefsen – home is where the heart is, Ringve museum, April – Sep 2014

Cityscapes and heartscapes

videoinstallation, 15 min, 2014
sound: Joakim B. Moldestad
Commisioned by: Ringve museum of music, Trondheim

Cityscapes and Heartscapes – Chopin & Tellefsen from andreas schille on Vimeo.

16mm filming with Art & Common space

Together with a group of students from the art academy in Trondheim. We made a 16mm-test. Later this month we are doing filming for an art-project in Levanger.

Dilek Acay: Connections Lloyd Durling: Ill Communication

18. – 27.10.2013, Babel Art Space

Dilek Acay’s works centre on great themes like the DNA – the body’s building blocks of life – atoms, the continental drift and the geological history of the world. In her collages personal experience tied to various geographical places are linked with human anatomy and the artist’s viewing of her own body. She uses a wide range of materials, e.g. video, sound and electronics, textile, and collage. Earlier on, Acay has worked with performance and conceptual photography as well as installations.

In the video work Clean My Soul we see a dog licking a woman’s face. There is something loving about the interaction between animal and human; it expresses a certain tenderness between man and animal. Dilek Acay stresses that her conception of life is non-hierarchical: Man is not above the animals. Her video expresses a non-spiecieistic attitude to life.

The relationship between religion and science is also conspicuous in Acay’s works, or, more precisely, the intersection of these views of reality. In her works, the interpretations of the world remain open both to science and to the spiritual. The sound work Touch the Ground displays a fascination for the word pair Adam and atom, which are linked by association because of their phonetic similarity. In the sweep between faith and science, knowledge and experience, the artist finds material for her artistic production.

As is the case with Acay, it is the span between figurative motifs and abstraction which characterizes Lloyd Durling’s art production. Durling finds inspiration for his works in old printing techniques and a pre-digital understanding of the reproduction of information.

Simultaneous covering up and unveiling of familiar, organic forms distinguish Durling’s paintings. The pictures appear to be enlargements of well-known shapes, images that are either organic, anatomic or scientific. The black areas in his images may be interpreted as negatives or inversions of the light in the motifs. They may veil or unveil.

In Durling’s pictures it is the range between form and non-form, light and darkness, which creates friction and depth. As is also the case with images produced by means of e.g. photochemical darkroom techniques, they appear to be developed rather than painted. In the light areas, the pictures that are painted on a transparent paper simultaneously disclose the wall behind. This makes the pictures delicate and timid in a way that demands a closer look. It is also in the surface of the black areas that the material of the picture, the ink itself, reveals itself to the viewer.

Acay and Durling disclose a renaissance kind of fascination for the printing ink and paper as a transmitter of information. At the same time, it is a subversion of this form of communication which gives the paintings an ambiguous and seducing expression.

Both Dilek Acay and Lloyd Durling’s works give associations to the history of science and demonstrate a blending of the manmade and the natural.

Translated by Birgit Kvamme Lundheim

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