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Model of Continuation
BY
Lina Selander

Model of Continuation is based on the invisible core of the visible inscription, the image as an interior object and its relationship to seeing and various imaging technologies. In my work I have attempted to follow an idea of the illusion’s beginning in the simple fact of images, like radioactivity or leakage between layers: vegetation and sporadic work outside the window, the room, the studio environment, the lonely plants, as well as the projection with its different layers of time. A camera is disassembled in a studio in front of another camera whose images are then projected in the same studio, and re-filmed. The material is lent an experience that interferes with and modulates that which the camera does not contain: the images.

The eye witnesses the end of its role as witness. Images will belong to the technologies that generate them. We are at a distance.

In Hiroshima things and people were erased in a flash. Their shadows were impressed on the city’s surfaces (plants, the man on the staircase). The flash of the atomic explosion can only be witnessed at the cost of one’s eyesight or life. Under some conditions, we can see.

The sound from the whistle and the scene at the end is from the film Children of Hiroshima (Kaneto Shindô, 1952). Some images have been borrowed from Hiroshima mon amour (Alain Resnais, 1959) and Hiroshima Nagasaki August, 1945 (Erik Barnouw, 1970).

Keywords Installation, Static Camera
Prod. format
Duration 00:24:12
Language English
Color Color
Year 2012
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About the artist

Lina Selander

Born 1973, lives and works in Stockholm, Sweden. Lina Selander works mainly with moving images in film and video, but also with photography, text and sound. Her works are often installations where these different medias and components converge and interrelate to one another. She is interested in the image’s ability and lack of ability to reproduce time, experience and memories and she explores how different narrative forms and techniques transform and change a story. Her works investigate film as medium, examining its possibilities and limitations as form of expression, and they often raise questions about history, media archeology and authenticity.

Selander’s work has been shown at Index, The Swedish Contemporary Art Foundation, Moderna Museet and in international group shows, biennales and festivals, for example in the Manifesta 9 in Genk, Bucharest Biennale 2010, the Media Art Biennale in Seoul, Korea. She will represent Sweden in the next Venice Biennale 2015.

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