SELVA OF SELVES (S.O.S) 2019
Video-animation, 05:00 min loop with sound, dimensions variable.
Credits: Concept: Helene Nymann, Animation-artist: Lasse Smith, Sound: Jeppe Brix
In Selva of Selves (S.O.S) we journey down underneath the sea and encounter the sea-slug and famous laboratory animal, Aplysia Californica. Used in scientific tests, Aplysia Californica, has helped pave the way for a deeper understanding of how human memories are created, supplying new information about memory storage, plasticity and even memory transfer. The special combination of the sea-slug’s simple nervous system, extraordinarily large sized neurons as well as its fascinating self-defense mechanism, a fuchsia colored chemical liquid, makes it a powerful model organism for sensitization training.
In Selva of Selves (S.O.S) we make a shift in perspective, as we in an almost Alice in Wonderland like fashion, fall down the hole of the slug’s siphon, arriving deep inside its pulsating nervous system. Thus, in a merge between art and science, the work opens up to new narratives, while at the same time posing the question; if other than-human encounters open possibilities for emergent realization of worlds, not just world-views, then might not all life, be thoughtful life?
ARS MEMORIA – Memes for Imagination
Today, large parts of our memory are externalized into various digital storage channels and images flow at high speeds through our perception, only fleetingly scratching the surface of our minds. Our memory is continuously challenged by new technologies as we have come to trust their functions, we simultaneously abandon our own ability to remember. The exhibition Ars Memoria operates between the pasts and futures of the development of memory-techniques and is inspired by the Italian philosopher, poet, and cosmologist Giordano Bruno. The exhibition Ars Memoria is about our memory’s fragile state, but also about how to activate its potential in a technological world. It presents a set of contemporary artworks and memes to gather new readings of ancient knowledge and memory systems as a way to remember a more sustainable future.
Credits: Concept and direction: Helene Nymann, Cinematographer; Troels Rasmus Jensen, Sound: Jeppe Brix, Set-Design: Anne Mette Fisker Langkjer, Animation: Adam Ryde Ankerfeldt & Magnus Pind Bjerre, Colorgrade: Olesya Kireeva, Act3
The constellation of works
Aom Aom, your body in my room – Study of the hippocampus
polystyrene, metal, white paint,210 m x 150 m x 190 m
BE LUCK – Bruno’s Endless Love to a Universe of Circular Knowledge – metal, beeswax, red pigment, cyber chrome, 90 cm x 5 cm
AWAWE – Aby Warburg Arranges a World of Empathy – metal, beeswax, green pigment, cyber chrome, 90 cm x 5 cm
M9MEMM – Mnemosyne and the Nine Muses Entranced in Mnemonic Meditations– metal, beeswax, purple, cyber chrome, 90 cmx5 cm
TOTHM – Tip of my Tongue to Henry Molaison – metal, beeswax, blue pigment, cyber chrome, 90 cm x 5 cm
AI – All In All In All – metal, beeswax, white pigment, cyber chrome, 90 cm x 5 cm
MOL, 11:20 min video loop with sound, single-channel video projection, dimensions variable.
excerpt from Video: https://vimeo.com/241069579
INSCRIBED, OH LOCUS LOCUS
In this video-installation, Nymann creates a physical self-awareness in the audience who, as a result of the work’s scale and presence may become participants. In both of these works, the protagonist is a classically trained ballet dancer. The ballet dancer typically works under clear instructions from a choreographer. Nymann, however, circumnavigates these prerequisites by requesting the response to the dancer’s immediate environment and its materials through his unconscious, without a determined outcome. It is here that Nymann explores strategies related to Butoh, a form of dance developed in 1950s Japan, in response to the country’s post-war mindset. Butoh translates from Japanese as “darkness” and is traditionally performed in a slow, unconscious state of expression where past events transform into bodily and cognitive responses.
Credits: Directed, filmed, edited and graded: Helene Nymann, Dancer; Sebastian Haynes, Cinematographer; Troels Rasmus Jensen, Sound: Jeppe Brix, Set-Design: Anne Mette Fisker Langkjer,
The constellation of works (in order of appearance)
Whether We Are, 16:9 Hdv [10:10 min loop] Excerpt from video-work: https://vimeo.com/154560667
Memoria and other aftermaths
Flat-screen, 16:9 Hdv [02:46 loop] Excerpt from video-work: https://vimeo.com/212272151
BEHIND THE PICTURE IT WAS
The work investigates how the use of archaic imagery and myth, may stimulate the subconscious and evoke a more meditative state of mind. In here marble and myth transcend time and allows the viewer space for retrospection. Metamorphic Rocks, I am no longer afraid, is filmed in Athens, Greece during the economic crisis and follow the craftsmanship of a traditional stonecutter, as he reshapes a massive piece of marble. Through extreme close-ups and with a meditative pace the image follows the breakdown and metamorphosis of this ancient material. Head On My Dear, is based on the ancient Greek myth of Medusa. As the image is endlessly coming and going it questions the value and meaning of our collective understanding of this universal myth, the image, as it is reused and reinterpreted and the power relation of the one looking and the one being looked at.
Credits: Directed, filmed and edited: Helene Nymann, Medusa: Diana Ø Tørsløv Møller, Set-design: Anne Mette Fisker Langkjer
The constellation of works (in order of appearance)
Metamorphic Rocks, I am no longer afraid
Video installation Hd 16:9 [04:26 loop] Excerpt from video-work https://vimeo.com/132032628
Head On My Dear
Video installation Hd video 16:9 [07:50 loop]Excerpt from video-work https://vimeo.com/140426384
In May 2012 a woman enters an old abandoned colonial hotel next to Tahrir Square. Shelter and battleground, the past and the haunting social forces, where one space transforms another, the wandering from room to room, the looking and being looked at, a revolution and a constant search for what needs to be exorcised in order for it to grow. The Liberation Of Squares is a split-screen projection with sound, a screen-work as well as a projection on fuschia-coloured fabric. The works are seen as video-sculptures and the immersive sounds emminating from the works encapsulate the viewers as they wander the space, emobodying the woman. Thus, as we follow the woman from room to room, the mental and physicality of the space interchange.
Credits: Directed, filmed and edited: Helene Nymann, Dancer: Karima Mansour, Sound: Jeppe Brix, Set-design: Anne Mette Fisker Langkjer
Constellation of works (in order of appearance)
Triptych, 3 x silk-laminated c-print mounted on board.C-Print 70 x 90 cm
The Liberation Of Squares, 2 x channel video sculpture 16:9 HDV [10:39 min loop]
Excerpt from video-work https://vimeo.com/106465869
Balcony, Video-sculpture. Projection on fuchsia coloured fabric. 16:9 HDV [02:23 min loop]
Excerpt from video-work https://vimeo.com/106423293
Video-sculpture, 16:9 HDV, (03.23 min loop) Excerpt from video-work https://vimeo.com/106468620