SELECTED WORKS BY LENA DITTE NISSEN

SELECTED WORKS BY LENA DITTE NISSEN

I am interested in foreign eyes, unknown perspectives, speculative reality, hidden images, shifting bodies, displaced words, delayed noises and fast cars. To feel the wind. Transportation and movement. Covered, uncovered and covered again I cannot believe the world. Like the alchemist I collect everything I can probably carry, inside-out, to use it for my experiments. Hungry I am - taking in goods and bads, embracing throwback, drinking what is served. To survive. Cheers my friends. I lick surfaces and squeeze into gaps and holes. Look. De-code. Understand. What? Are you crazy? Insert new eye. In film I seek depths - the flat material leads us to unseen mountains and the deepest waters. Reusing long lost footage over and over again, I coordinate memory to trigger the inside void of destruction and chasing single frames we end up seeing nothing in flickering darkness. Deconstructing the substances, I let myself fall into minimal illusion in maximal visual intensity. Friends and enemies as material for the swallowing of matter and meaning. Blending thought and faces, merge differences to feel them only stronger on the inside of my skin. Altercation and confrontation. I need you. We want I. Friction as a necessary good for the creation of warmth. Kiss me.

LIST OF WORKS THE PLACE I WILL HAVE LEFT FREIHEIT FIKTION UND FROHSINN FÜR ALLE ANÓME RADAR PAIN + FÖTUS KORONA GUNS N LOVE EIN TEIL/TEIL EINS (DER MOND IST AUFGEGANGEN) MARKUS NEARBY

THE PLACE I WILL HAVE LEFT

Experimental Film, 2016; 15minutes, 16mm transferred to HD-video The film was shot around Rio Catatumbo in Venezuela, where most lightnings in the world strike down. It examines the dialectics of black and white, human and non-human, light and dark, safe and unsafe, loud and silent, known and unknown, self and other in a meditative and somewhat minimal audio-visual excess.

WHEN SHE WAS A CHILD, SHE WAS ALLERGIC TO EVERYTHING THAT WAS RED. EVEN STRAWBERRIES AND TOMATOES MADE HER MOUTCH ITCHY AND SORE. YOU LOOK JUST LIKE HER NOW. LIKE THAT SAVAGE, THAT WILD, THAT BRAVE YOU WANT TO BE - AN UNIDENTIFIED BEING MADE OUT OF EVERYTHING THAT GETS TO YOU. YOUR MOUTH IS SWOLLEN AND INFLAMED AND YOUR EYES ARE OPEN IN ANXIETY.

FREIHEIT, FIKTION UND FROHSINN FÜR ALLE

Performance, 2015; 30 min. Baustelle Schaustelle Essen During half an hour i secure the floor with plastic and then write the words FREEDOM FICTON AND HAPPYNESS on the wall of the gallery-space with black painting. Right afterwards the words are overpainted white with two layers, until the black paint has disappeared again. Like a graffity on the wall, as an invocation or proclamation. Then, self censorship. Because of fear - or the impossibilty to actually optain the self-inflicted call.

ANÓME

Experimentalfilm, 2015; 13 minutes, 16mm transferred to HD-video Interweaving documentary images from the two matrilineal tribes of the Moshu (China) and the Kuna (Panama) this film connects alleged female societies from continent to continent. The link between these two worlds is the filmmaker herself, trying to cope with the otherness of what is seen and the strangeness of the inner experience. Refusing to see at times, unable to make visible.

GUNS AND LOVE

Video, 2012 Mini-DV, 4:3, stereo sound, 5min A snow-covered, frozen landscape is disturbed by shooting men, fire and smal explosions, the skinning of a deer and, finally, fireworks as a closure of an obscure yet festive and somewhat sexualized ritual that ends up showing the viewer the innocent dead animal as an open deep hole.

RADAR PAIN +FÖTUS

Installation with Performer, 2015 Moltkerei Wekrstatt Köln The stickines of oil, tarr, moments of anxiety - the lightnings - streched to nearly invisible black void, a lonely loud fetus in the middle, unbarable noise, no enough space for people, light versus dark, distorted sequenzes of information, unborn ideas and endless and useless repetition.

KORONA

Experimentalfilm, 2013; 10 minutes, 16mm transferred to HD-video KORONA poetically describes the subjective physical and psychological experience of a recurring subversion of the self-experience of a young woman. The whispered narration from the perspective of the speaker, and the reduced use of minimal black and white images leads the viewer further and further into the inner of a mythical state of being, that is neither an end nor a solution. An elegant and understated study of the development of both the human soul and the medium of film. (CPH:DOX, New Danish Artists)

MARKUS

In yellow light and the smell of men. Video, 2011 Mini-DV, 4:3, stereo sound, 1:40min Markus is a short Video about a guy called Markus, who watches porn and eats bacon, who likes to go to the sauna, who has lost his girlfirend and misses his mum, and who - at night - wets his bed.

EIN TEIL / TEIL EINS (DER MOND IST AUFGEGANGEN) ONE PART/ PART ONE (THE MOON IS RISING)

Experimentalfilm, 2014; 6 minutes, 16mm transferred to HD-video This film is an abstract meditation about the appearence and disppearence of a man. Slowly abstract white forms appear, they clear up and a man can be seen. He is seen in positiv and his own negativ, these two forms of the same man touch each other, hunt each other. This film is the first part of two films that are with and about my parents. The second with the title EIN TEIL/TEIL ZWEI (Donna, Donna) is still in the making.

NEARBY

I LIKED YOU. I THOUGHT, WE COULD BE FRIENDS. THE GUY AT THE BAR - HE LIVES WITH HIS PARENTS. AGAIN, HE SAYS. HE WOULDN T INVITE ME THOUGH. Video, 2012 DH-Video, stereo sound, 5min This video presents an urban dystopia. Put together from images that look as though they were shot with surveillance cameras, NEARBY shows anonymous figures going about their business in public space. Through frame-by-frame editing the figues meet and the ground on which they walk turns into a graphical structure that moving rhytmically - a space in which architecture and society merge. The cold and anonymous video is juxtaposed by a personal and subjective voice-over that allegely tells the viewer about the people he/she sees. SHE IS OLD. SHE IS AT HOSPITAL RIGHT NOW. I THINK SHE FELL DOWN SOME STAIRS OR SOMETHING, AND HIT HER HEAD.

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