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Kyla
BY
Ann Rosén

Kyla, Hetta, IDM (InaDinaMina), Ifrån, A+B and Match-O from 1999-2001 are all works about barriers from my childhood. Ina, Dina and Mina were my imaginary friends that lived in a alder hedge. Kyla, is about the cold i perceived in the bubble I was trapped inside. Hetta, sorrow and emptiness. Ifrån, the barrier between me and my surrounding. A+B, a possible meeting. Match-O, alienation. 

Aspect ratio 1.33:1 (4:3)
Prod. format Generic SD-video
Duration 00:08:43
Language No dialogue
Color Color
Year 2001
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About the artist

Ann Rosén

Born in 1956, lives and works in Borryby, Sweden.

Ann Rosén is a sound, video and performance artist. Her work can take the shape of video, sound art, electro acoustic music, sound and video installations etc. In the early 1990s she investigated various forms of human interaction, her work focussed on creating situations where people could meet under different forms. As computer technology became more accessible Ann Rosén started to combine social interaction with digital art forms. Many of her ideas require a large number of people from different backgrounds. This has led to that she has initiated and coordinated a number of interdisciplinary projects. The Video work ‘Vardagssekvenser’ (Lena, Lisbeth, Axel, Camilla, etc) is an example that emerged from a one of these projects.

In 2000 Ann Rosén started to include scientists and researchers from different fields in her projects. The focus in these projects is to use art as a driving force for the research but still have a collaboration based on equal terms. Silent Sound Sculpture (http://cid.nada.kth.se/tystljud ) where silent zones where created and sculpted in an noisy environment is an example of this kind of project. To address the problems encountered in these projects and create a platform for interdisciplinary collaborations Ann Rosén initiated ADRA- Art Driven Research Association in 2004. In parallel with her project work she has continued to produce solo-exhibitions sound-art, music, video and performances.

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