{"id":109,"date":"2026-01-07T23:35:05","date_gmt":"2026-01-07T20:35:05","guid":{"rendered":"https:\/\/unite-mag.com\/2026\/01\/07\/vdeokunstarkivet-sanatilari-le-rportajlar-part-iii\/"},"modified":"2026-09-10T21:27:02","modified_gmt":"2026-09-10T18:27:02","slug":"vdeokunstarkivet-sanatilari-le-rportajlar-part-iii","status":"publish","type":"post","link":"https:\/\/unite-mag.com\/en\/vdeokunstarkivet-sanatilari-le-rportajlar-part-iii\/","title":{"rendered":"Videokunstarkivet Sanat\u00e7\u0131lar\u0131 ile R\u00f6portajlar \u2014 Part III"},"content":{"rendered":"
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Sanatsal prati\u011finizi k\u0131saca nas\u0131l tan\u0131mlars\u0131n\u0131z? \u00c7al\u0131\u015fmalar\u0131n\u0131zda genellikle hangi temalar veya kavramlar \u00f6n plana \u00e7\u0131k\u0131yor?<\/strong><\/p>\n

Mattias H\u00e4renstam:<\/strong> \u00c7al\u0131\u015fmalar\u0131m film, heykel, enstalasyon, bask\u0131 resim ve daha pek \u00e7ok farkl\u0131 sanat formunu kaps\u0131yor. Malzeme veya medya ne olursa olsun, kontrol arzusu ve bu arzunun \u00e7\u00f6kt\u00fc\u011f\u00fc durumlara olan ilgi, \u00e7al\u0131\u015fmalar\u0131mda tekrar eden bir tema. Bunun \u00f6tesinde ise ba\u015far\u0131s\u0131zl\u0131k korkusu ve bunun sonucunda belirsiz bir u\u00e7uruma d\u00fc\u015fme korkusu var. Bu \u201cne pahas\u0131na olursa olsun g\u00f6r\u00fcn\u00fc\u015f\u00fc korumak\u201d ve bunu yapman\u0131n ger\u00e7ek maliyeti. Benim i\u00e7in bu sadece psikolojik veya varolu\u015fsal bir durum de\u011fil, ayn\u0131 zamanda politik bir durumdur. <\/p>\n

Paul Tunge:<\/strong> Yazar odakl\u0131 uzun metrajl\u0131 filmler yapman\u0131n yan\u0131 s\u0131ra, son on be\u015f y\u0131ld\u0131r modernizmle ba\u011flant\u0131l\u0131 k\u0131sa belgeseller de yap\u0131yorum. Modernist mimari \u00fczerine belgesellerin yan\u0131 s\u0131ra, g\u00f6rsel sanat\u00e7\u0131lar ve tasar\u0131mc\u0131lar\u0131n korsan radyo programlar\u0131 da var. Sinema dilinde farkl\u0131 teknikler ve formlar kullanabilece\u011fim, konuyla uyumlu veya kontrast olu\u015fturabilecek konular se\u00e7meye \u00e7al\u0131\u015f\u0131yorum. <\/p>\n<\/div>\n

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Paul Tunge<\/figcaption><\/figure>\n
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Pierre Lionel Matte:<\/strong> \u00c7al\u0131\u015fmalar\u0131m\u0131n kayna\u011f\u0131 ki\u015fisel biyografim ve g\u00fcnl\u00fck olaylar, \u00e7a\u011fda\u015f siyaset ve ulusal kimlik, yabanc\u0131 d\u00fc\u015fmanl\u0131\u011f\u0131, ekoloji ve sanat tarihi konular\u0131n\u0131 ele alan edebiyatt\u0131r. Sanat yapman\u0131n ve deneyimlemenin s\u00fcrekli bir \u00f6\u011frenme s\u00fcreci oldu\u011funa inan\u0131yorum ve insanlarla ve yerlerle yeni ki\u015fisel kar\u015f\u0131la\u015fmalar, \u00e7al\u0131\u015fmalar\u0131m\u0131n s\u00fcrekli bir de\u011fi\u015fim s\u00fcrecinde olmas\u0131n\u0131 sa\u011flayacak ilham kayna\u011f\u0131 olacakt\u0131r. S\u0131k s\u0131k sosyal meseleleri ki\u015fisel bir bak\u0131\u015f a\u00e7\u0131s\u0131yla ele almaya \u00e7al\u0131\u015f\u0131r ve g\u00fcnl\u00fck deneyimlerin ve olaylar\u0131n genel ve k\u00fcresel meseleleri nas\u0131l yans\u0131tabilece\u011fini incelerim. \u015eiirsel ile politik, mizahi ile ciddi olan\u0131 bir araya getirmeyi, \u00e7ok \u00e7e\u015fitli teknikler, malzemeler ve g\u00f6rsel stiller kullanmay\u0131 seviyorum. Video \u00e7al\u0131\u015fmalar\u0131mda s\u0131k s\u0131k ses band\u0131n\u0131n temelini olu\u015fturan eylemler ger\u00e7ekle\u015ftiririm.<\/p>\n

Randi Annie Strand:<\/strong> 1990’lardan beri sanat\u00e7\u0131 kitab\u0131 benim ana ifade arac\u0131m olmu\u015ftur. Kitab\u0131 fiziksel, duyusal, zamana dayal\u0131, etkile\u015fimli ve metaforik bir ara\u00e7 olarak inceledim. Benim i\u00e7in kitap sadece bir metin arac\u0131 de\u011fil, tam bir deneyim alan\u0131d\u0131r. Kitap ve farkl\u0131 bile\u015fenleri hakk\u0131ndaki fikirler beni kitap arac\u0131n\u0131n d\u0131\u015f\u0131na, heykel, enstalasyon ve film gibi alanlara da ta\u015f\u0131d\u0131. Dil, i\u015faretler ve duyusal deneyimler \u00e7al\u0131\u015fmalar\u0131m\u0131n merkezinde yer al\u0131r. \u00c7e\u015fitli dil i\u015faretlerini ara\u015ft\u0131r\u0131p inceledim ve duyular\u0131m\u0131z aras\u0131ndaki ili\u015fkiyi ara\u015ft\u0131rmaya \u00e7al\u0131\u015ft\u0131m. Sanat kariyerimin yan\u0131 s\u0131ra, bir s\u00fcre sa\u011f\u0131r insanlar i\u00e7in bir kurumda \u00e7al\u0131\u015ft\u0131m. \u0130\u015faret dili g\u00f6rsel bir dildir ve \u00abSilent Sign\u00bb filminde oldu\u011fu gibi onu daha derinlemesine ara\u015ft\u0131rmak do\u011fal bir \u015fey gibi geldi. Sa\u011f\u0131rlar\u0131n kulland\u0131\u011f\u0131 dil i\u015faretlerinin \u00e7o\u011fu ikoniktir ve bir\u00e7ok i\u015faret herkesin kulland\u0131\u011f\u0131 jestlere benzer. \u0130\u015faret dilinde y\u00fcz ifadesi ve bak\u0131\u015flar okumak i\u00e7in \u00e7ok \u00f6nemlidir. Bir\u00e7ok kelime ayn\u0131 i\u015faretleri kulland\u0131\u011f\u0131ndan, bu i\u015faretlerin anlam\u0131 kullan\u0131ld\u0131klar\u0131 ba\u011flama ba\u011fl\u0131d\u0131r. Y\u00fcz ifadesini ortadan kald\u0131rarak, sembolik bir okumaya olanak sa\u011flamaya ve i\u015faretleri ba\u015fka bir d\u00fczeyde ileti\u015fimsel hale getirmeye \u00e7al\u0131\u015ft\u0131m.<\/p>\n

Rita Marhaug:<\/strong> On y\u0131llard\u0131r sanat\u00e7\u0131 olarak \u00e7al\u0131\u015f\u0131rken, uygulamalar\u0131m elbette y\u0131llar i\u00e7inde de\u011fi\u015fti. \u00c7izim, bask\u0131 ve foto\u011fraf\u00e7\u0131l\u0131k e\u011fitimi ald\u0131m ve t\u00fcm bu alanlar y\u0131llar boyunca \u00e7al\u0131\u015fmalar\u0131m\u0131n bir par\u00e7as\u0131 oldu. Sonu\u00e7lar bireysel \u00e7izimler, bask\u0131lar, sanat\u00e7\u0131 kitaplar\u0131 ve\/veya enstalasyonlar\u0131n ve ortak projelerin bir par\u00e7as\u0131 olarak sunuldu. Sanat uygulamam\u0131n bir di\u011fer \u00f6nemli y\u00f6n\u00fc ise performans. Bu, 90’l\u0131 y\u0131llarda, temam\u0131n izleyiciye ula\u015fmak i\u00e7in ba\u015fka bir araca ihtiya\u00e7 duydu\u011funu fark etti\u011fimde ba\u015flad\u0131. \u0130stedi\u011fim \u015fey, \u201cg\u00fc\u00e7\u201d ve \u201ck\u0131r\u0131lgan\u201d durumlar\u0131 tan\u0131mlamak i\u00e7in fiziksel ve mevcut bir \u015feydi. Mevcut beden, bir\u00e7ok \u00e7al\u0131\u015fmamda \u00f6nemli bir ara\u00e7 haline geldi. Y\u0131llar i\u00e7inde bunlar\u0131n bir k\u0131sm\u0131 k\u0131sa video filmler ve foto\u011fraflar haline getirildi. Temalar\u0131m da elbette y\u0131llar i\u00e7inde de\u011fi\u015fiklikler ge\u00e7irdi. 90’lar\u0131n sonlar\u0131ndan itibaren uzun bir s\u00fcre boyunca \u201caile\u201d \u00f6nemli bir unsurdu ve hala bazen bu konuya geri d\u00f6n\u00fcyorum. Son 15 y\u0131ld\u0131r ilgilendi\u011fim konu, deniz yata\u011f\u0131ndaki do\u011fal gaz ve petrol kaynaklar\u0131na ba\u011fl\u0131 olan Norve\u00e7’in zenginli\u011fiydi. Norwegian Liquid performans serisi, birka\u00e7 y\u0131l boyunca geli\u015fti ve bu s\u00fcre\u00e7te kar\u015f\u0131la\u015ft\u0131\u011f\u0131 bir dizi unsuru kapsar hale geldi. Siyah ve beyaz; g\u00f6rsel ve dilsel olarak, nihai bir kontrast. Cilt; birey ve d\u00fcnya aras\u0131ndaki aray\u00fcz. Kimlik; \u00e7e\u015fitli ba\u011flamlarda sanat \u00fcretimimin merkezinde yer al\u0131r, \u00f6zellikle de kad\u0131nl\u0131k ve erkeklik, \u00e7ocuklar ve yeti\u015fkinler \u00fczerine odaklanan erken d\u00f6nem \u00e7al\u0131\u015fmalar\u0131mda. Norwegian Liquid, birey ve ulus aras\u0131ndaki gerilim i\u00e7indeki kimlikle ilgilenir. Ulusal ve bireysel anlay\u0131\u015flar\u0131m\u0131z genellikle birbiriyle \u00e7eli\u015fir. Ayn\u0131 \u015fey, ger\u00e7eklik ve ulus kavram\u0131 ile birey i\u00e7in de ge\u00e7erlidir: Norve\u00e7, el de\u011fmemi\u015f do\u011fas\u0131 ile tan\u0131nan bir \u00fclke olarak sunulurken, asl\u0131nda d\u00fcnyan\u0131n yedinci b\u00fcy\u00fck petrol ihracat\u00e7\u0131s\u0131d\u0131r. Birey, k\u0131rsal kesimde k\u00f6kleri olan geleneksel olarak \u0131l\u0131ml\u0131 bir k\u00fclt\u00fcr ile s\u0131n\u0131rs\u0131z, uluslararas\u0131, post-end\u00fcstriyel bir bilgi-e\u011flence toplumu aras\u0131nda kalm\u0131\u015ft\u0131r.<\/p>\n<\/div>\n

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The Barrel – Rita Marhaug<\/figcaption><\/figure>\n
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Tone Myskja:<\/strong> Sanat prati\u011fimde sergiler, konserler ve sahne performanslar\u0131 arac\u0131l\u0131\u011f\u0131yla video ile g\u00f6rsel ve heykelsi bir unsur olarak \u00e7al\u0131\u015f\u0131yorum. M\u00fczikal bir yakla\u015f\u0131m\u0131m var, karma\u015f\u0131k ve katmanl\u0131 videolar ve enstalasyonlar besteliyorum. Tematik olarak, \u00e7al\u0131\u015fmalar\u0131m\u0131n \u00e7o\u011fu dilin, alg\u0131n\u0131n ve kimli\u011fin karma\u015f\u0131kl\u0131\u011f\u0131yla ve insan deneyiminin ya\u015fad\u0131\u011f\u0131m\u0131z zaman ve i\u00e7inde bulundu\u011fumuz fiziksel, sosyal ve k\u00fclt\u00fcrel manzaralar taraf\u0131ndan nas\u0131l \u015fekillendirildi\u011fiyle ilgilidir. Bizler her zaman hareket halindeyiz: zaman, d\u00fc\u015f\u00fcnceler ve beden arac\u0131l\u0131\u011f\u0131yla. Beden alg\u0131s\u0131n\u0131n, d\u00fc\u015f\u00fcnce ve g\u00f6rme kadar deneyimin ayr\u0131lmaz bir par\u00e7as\u0131 oldu\u011fu heykelsi enstalasyonlar yarat\u0131yorum. \u00d6l\u00e7ek ve format, hem video d\u00fczenlemede hem de heykelsi bile\u015fenlerin ve video projeksiyonlar\u0131n\u0131n fiziksel tasar\u0131m\u0131nda sanat prati\u011fimde \u00e7ok \u00f6nemli unsurlar. \u0130zleyicilere d\u00fc\u015f\u00fcnsel ve s\u00fcr\u00fckleyici bir deneyim sunmay\u0131 ama\u00e7l\u0131yorum.<\/p>\n

Videokunstarkivet ar\u015fivi gibi bir koleksiyonda yer almak sizin i\u00e7in ne anlama geliyor? Bu ar\u015fiv, kariyerinize veya sanata bak\u0131\u015f a\u00e7\u0131n\u0131za nas\u0131l katk\u0131da bulundu?<\/strong> <\/p>\n

Mattias H\u00e4renstam:<\/strong> Bu koleksiyona dahil edilmek benim i\u00e7in bir onur. Ayr\u0131ca, eserlerin sadece \u201cortadan kaybolmak\u201d yerine, \u00f6zenle saklan\u0131p eri\u015filebilir durumda olmas\u0131 da \u00e7ok g\u00fczel bir duygu. Bu g\u00f6sterimde yer alan eserler 20-25 y\u0131l \u00f6nce yap\u0131lm\u0131\u015f ve bunlar\u0131n hala \u201chayatta\u201d oldu\u011funu g\u00f6rmek elbette b\u00fcy\u00fck bir mutluluk. <\/p>\n

Paul Tunge:<\/strong> Bu \u00f6nemli \u00e7\u00fcnk\u00fc bu, zaman i\u00e7inde \u00e7al\u0131\u015fmalar\u0131 koruyan ve muhafaza eden bir kurulu\u015f oldu\u011fu ve filmlerin gelecekteki \u00e7al\u0131\u015fmalar i\u00e7in eri\u015filebilir oldu\u011fu anlam\u0131na geliyor.<\/p>\n

Pierre Lionel Matte:<\/strong> Ar\u015fivin bir par\u00e7as\u0131 olmak benim i\u00e7in iki nedenden dolay\u0131 \u00f6nemli: 1. Eserlerimin daha geni\u015f bir ba\u011flamda ke\u015ffedilip g\u00f6r\u00fclebilmesi ve 2. Elektronik medya teknolojik de\u011fi\u015fikliklere kar\u015f\u0131 savunmas\u0131z oldu\u011fundan, gelecek nesiller i\u00e7in korunabilmesi. Ar\u015fivin, daha geni\u015f bir kitlenin Norve\u00e7 video sanat\u0131ndaki b\u00fcy\u00fck \u00e7e\u015fitlili\u011fi ke\u015ffetmesi i\u00e7in bir kaynak olabilmesi de ilham verici.<\/p>\n<\/div>\n

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Pas de Deux for Factory and Ocean – Pierre Lionel Matte<\/figcaption><\/figure>\n
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Randi Annie Strand:<\/strong> Videokunstarkivet’in bir par\u00e7as\u0131 olmak benim i\u00e7in \u00e7ok anlaml\u0131. Zamana dayal\u0131 sanat eserleri, di\u011fer sanat eserleri kadar kolay belgelenip aktar\u0131lamaz. Sonu\u00e7 olarak, sanat tarihinde yeterince temsil edilmeyebilirler. Ar\u015fiv, \u00f6nemli bir ara\u015ft\u0131rma kayna\u011f\u0131 ve sanat tarihimizi tamamlayan bir ara\u00e7t\u0131r. 1999 tarihli filmimi g\u00f6stermeyi se\u00e7mi\u015f olman\u0131z, hem ar\u015fivin ge\u00e7erlili\u011fini hem de Ars longa, vita brevis (Sanat uzun, hayat k\u0131sad\u0131r) atas\u00f6z\u00fcn\u00fcn do\u011frulu\u011funu g\u00f6steriyor.<\/p>\n

Rita Marhaug:<\/strong> Videokunstarkivet’in varl\u0131\u011f\u0131 bir\u00e7ok a\u00e7\u0131dan b\u00fcy\u00fck \u00f6nem ta\u015f\u0131yor. Eserinizin korunaca\u011f\u0131n\u0131 ve izleyiciler ile k\u00fcrat\u00f6rlerin eri\u015fimine a\u00e7\u0131k olaca\u011f\u0131n\u0131 bilmek bir \u015fey, kendi kontrol\u00fcn\u00fczden \u00e7\u0131km\u0131\u015f olmas\u0131n\u0131n verdi\u011fi g\u00fcvence ise ba\u015fka bir \u015fey. Sanat elbette \u00e7ok bireysel bir faaliyet, ancak ben sanat\u0131n demokrasi, anlay\u0131\u015f ve insanlar aras\u0131 diyalogun in\u015fas\u0131nda \u00f6nemli bir unsur olarak g\u00fcc\u00fcne de inan\u0131yorum.<\/p>\n

Tone Myskja:<\/strong> Videokunstarkivet benim i\u00e7in \u00e7ok \u00f6nemli bir koleksiyon. Video, performans ve zamanla ilgili sanatla ilgilenenler i\u00e7in, k\u00fcrat\u00f6rl\u00fc\u011f\u00fc yap\u0131lmam\u0131\u015f, a\u00e7\u0131k bir ar\u015fiv koleksiyonu ve k\u00fct\u00fcphaneye eri\u015febilme f\u0131rsat\u0131 sunuyor. Umar\u0131m, ar\u015fivi inceleyen herkes, ben de dahil, yeni ve ilgin\u00e7 sanat\u00e7\u0131lar ke\u015ffeder ve onlar hakk\u0131nda bilgi edinir. <\/p>\n<\/div>\n

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Interior – Tone Myskja<\/figcaption><\/figure>\n
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Video sanat\u0131 izleyiciyle nas\u0131l bir ba\u011f kurar? Ankara – T\u00fcrkiye’deki izleyicilerin eserinizden ne t\u00fcr duygular veya d\u00fc\u015f\u00fcnceler edinmesini umuyorsunuz?<\/strong> <\/p>\n

Mattias H\u00e4renstam:<\/strong> Bence video sanat\u0131 di\u011fer sanat t\u00fcrlerinden \u00e7ok da farkl\u0131 de\u011fil; hepsi izleyicide bir duygu ve merak uyand\u0131rmak zorundad\u0131r. Bence t\u00fcm sanatlar, dili a\u015fan bir \u015fey i\u00e7eren \u00e7ok \u00f6zel bir ileti\u015fim bi\u00e7imidir. \u0130yi sanat ise herkesle ileti\u015fim kurabilir. Bu, herkesin be\u011fenece\u011fi anlam\u0131na gelmez, ama kim oldu\u011funuz ve nereden geldi\u011finizden ba\u011f\u0131ms\u0131z olarak herkesle ileti\u015fim kurabilir.<\/p>\n<\/div>\n

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Supermarket – Mattias H\u00e4renstam<\/figcaption><\/figure>\n
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Paul Tunge<\/strong>: Mimari filmlerle amac\u0131m, izleyiciye binalar\u0131n i\u00e7indeymi\u015f gibi bir his vermekti. Kamera bu potansiyele sahip. Binalara eri\u015fim zor olabiliyor, bu y\u00fczden belgelemek ve izleyiciye eri\u015fim imkan\u0131 vermek i\u00e7in g\u00fczel bir g\u00fcn. Tarih\u00e7i de\u011filim, bu y\u00fczden filmlerimle biraz anlatmaya, bir evin, bir sandalyenin veya bir ressam\u0131n tad\u0131n\u0131 vermeye \u00e7al\u0131\u015f\u0131yorum, b\u00f6ylece izleyicinin kendi ara\u015ft\u0131rmas\u0131na bir ge\u00e7i\u015f g\u00f6revi g\u00f6rebilsin.<\/p>\n

Pierre Lionel Matte<\/strong>: Video sanat\u0131 zamana dayal\u0131 oldu\u011fu i\u00e7in bir t\u00fcr geli\u015fme veya dramaturji i\u00e7erebilir ve zamanla anlat\u0131, kavramsal ve duygusal durumlarda de\u011fi\u015fiklikler olabilir. Bu nedenle video sanat\u0131n\u0131n izleyicinin merak\u0131n\u0131 uyand\u0131rabilece\u011fini ve b\u00f6ylece izleyiciyi hem entelekt\u00fcel hem de duygusal olarak etkileyebilece\u011fini d\u00fc\u015f\u00fcn\u00fcyorum. Ancak zamana dayal\u0131 \u00e7a\u011fda\u015f sanat\u0131n \u00e7o\u011funda oldu\u011fu gibi, izleyicinin elde edece\u011fi fayda, esere g\u00f6sterdi\u011fi sab\u0131r ve \u00e7abayla artacakt\u0131r. \u00c7al\u0131\u015fmalar\u0131m\u0131n \u00e7o\u011fu, ormanda y\u00fcr\u00fcy\u00fc\u015f gibi g\u00fcndelik durumlara dayan\u0131yor ve bu \u015fekilde izleyicinin kendi deneyimleriyle ba\u011flant\u0131 kuraca\u011f\u0131na inan\u0131yorum. \u0130zleyicinin hem hayat\u0131m\u0131zda etraf\u0131m\u0131zda var olan \u015fiiri fark etmesini, hem de insanl\u0131\u011f\u0131n ve par\u00e7as\u0131 oldu\u011fumuz do\u011fal d\u00fcnyan\u0131n k\u0131r\u0131lganl\u0131\u011f\u0131n\u0131 kabul etmesini umuyorum.<\/p>\n

Randi Annie Strand:<\/strong> Braille ve i\u015faret dili ile \u00e7al\u0131\u015ft\u0131m ve \u00e7al\u0131\u015fmalar\u0131 herhangi bir grup aidiyetine dayal\u0131 olmaks\u0131z\u0131n geni\u015f bir kitleye sundum. Herkes d\u00fcnyay\u0131 dokunsal olarak deneyimler, herkes temel \u015feyleri beden diliyle ifade eder. Benim i\u00e7in hem Braille hem de i\u015faret dili, engellere ve farkl\u0131l\u0131klara ra\u011fmen insanlar\u0131n ileti\u015fim kurma yetene\u011fi ve isteklili\u011finin birer yans\u0131mas\u0131d\u0131r. Umar\u0131m film, t\u00fcm s\u0131n\u0131rlar\u0131n \u00f6tesinde bir topluluk hissini ifade eder ve aktar\u0131r.<\/p>\n<\/div>\n

\"
Silent Sign – Randi Annie Strand<\/figcaption><\/figure>\n
\n

Rita Marhaug:<\/strong> Video sanat\u0131 \u00e7ok farkl\u0131 \u015feyler olabilir, bu y\u00fczden izleyiciyle tek bir ba\u011flant\u0131 kurmak zor. Bununla birlikte, g\u00fcn\u00fcm\u00fczde video, ak\u0131ll\u0131 telefonu olan \u201cherkesin\u201d bu araca eri\u015febildi\u011fi bir bak\u0131ma \u00e7ok demokratik bir ortamd\u0131r. Bu durum, sadece 40 y\u0131l \u00f6nceki medya durumundan \u00e7ok farkl\u0131d\u0131r. Filmlerimde de g\u00f6r\u00fcld\u00fc\u011f\u00fc gibi, benim video ile \u00e7al\u0131\u015fma y\u00f6ntemim, genellikle tek \u00e7ekimde \u201ckamera i\u00e7in performans sergilemek\u201d ve bu anlamda eylemin ger\u00e7e\u011fini anlatmak, hi\u00e7bir \u015feyi gizlememek veya izleyici i\u00e7in zaman\u0131 h\u0131zland\u0131rmamakt\u0131r. Bu \u015fekilde, Ankara izleyicisinin bir varl\u0131k hissi ya\u015fayaca\u011f\u0131n\u0131 umuyorum. \u00c7ekim yeri, T\u00fcrkiye’den \u00e7ok farkl\u0131 bir do\u011fal \u00e7evreye sahip olan Norve\u00e7’in kuzeyinde. \u00d6te yandan, burada bulunan do\u011fa, plaj ve okyanus, yani t\u00fcm d\u00fcnyada tan\u0131d\u0131k kavramlar. Ayn\u0131 \u015fey, The Interface (Gresesnittet) ve The Barrel (Fatet) videolar\u0131nda kullan\u0131lan malzemeler i\u00e7in de s\u00f6ylenebilir: kad\u0131n bedeni, k\u00fcvet ve siyah ya\u011f. 200 y\u0131l\u0131 a\u015fk\u0131n bir s\u00fcredir d\u00fcnya ekonomisi k\u00f6m\u00fcr, petrol ve gaz gibi karbon yak\u0131tlar\u0131n\u0131n kullan\u0131m\u0131na dayal\u0131d\u0131r ve bu durum g\u00fcn\u00fcm\u00fczde k\u00fcresel \u0131s\u0131nma ve kritik e\u015fik noktas\u0131na yol a\u00e7m\u0131\u015ft\u0131r. <\/p>\n

Tone Myskja:<\/strong> Sergilenen video \u00e7al\u0131\u015fmalar\u0131m\u0131n \u00e7o\u011fu heykelsi enstalasyonlar olarak sunuluyor. Ankara sergisinde \u00fc\u00e7 video bir g\u00f6sterim program\u0131nda sunulacak olsa da, izleyicilere d\u00fc\u015f\u00fcnmeye sevk eden ve kendilerini kapt\u0131ran bir deneyim ya\u015fatmas\u0131n\u0131 umuyorum.<\/p>\n

ENGLISH BELOW<\/strong><\/p>\n

How would you briefly describe your artistic practice? What themes or concepts typically come to the forefront in work work?  <\/strong><\/p>\n

Mattias H\u00e4renstam: <\/strong>My practice span over a wide range of different art forms including film, sculpture, installation, printmaking and more. Regardless of material or media, there is a recurrent theme of desire for control and an interest in the situation when it crumbles. Beyond it is the fear of failure and the subsequent fall into some undefined abyss. This “keeping of up appearances at any cost” and the actual cost of doing just that. To me that is not just a psychological or existential state, but just as much a political condition. <\/p>\n

Paul Tunge:<\/strong> A side of making auteur driven feature films, I\u2019ve also been making mistet short documentaired the last fifthen years connected to modernism. Serverer docs on modernist architecture, but also piratradio of visual artists and designers. I try to find concepts where i pick subjects where i can use diffrent technichs and forms within the cinema language that can play along or work as a contrast to the subject. <\/p>\n

Pierre Lionel Matte:<\/strong> My work has its origin in my personal biography and daily events, contemporary politics and litterature discussing national identity, xenophobia, ecology and art-history. I believe that making and experiencing art is a constant process of learning, and new personal encounters with people and places will inspire my work to always be in a process of change. I often try to reflect on social issues from a personal viewpoint, and examine how daily experiences and events can reflect general and global issues. I enjoy combining the  poetic with the political, the humorous with the serious, using a wide range of different techniques, materials and visual styles. In my video works I often performs actions that form the basis for the soundtrack.<\/p>\n

Randi Annie Strand<\/strong>: The artist\u2019s book has been my main medium since the 1990s. I have examined the book as a physical, sensory, time-based, interactive and metaphorical medium. For me, the book is not just a medium of text, it is a total field of experience. Ideas around the book and its different components have also brought me out of the book medium, such as into sculpture, installation and film. Language, signs and sensory experiences are central elements in my works. I have explored and dissected various forms of language signs, and have tried to investigate the relationship between our senses. Alongside my artistic career, I worked for a while in an institution for deaf people. Sign language is a visual language, and it seemed natural to investigate it further as in the film \u00abSilent Sign\u00bb. Many of the deaf language signs are iconic, and many signs are similar to gestures that everyone uses. In sign language facial expression and gaze are essential for reading. Since many words use the same signs, the meaning of those signs depends on the context in which they occur. By removing facial expression I have tried to open up for a symbolic reading and make the signs communicative on another level.<\/p>\n

Rita Marhaug:<\/strong> Working as an artist over the decades,  my practice has of course changed over the years. I was trained within drawing, printmaking and photography \u2013and all these aspects have been part of my work over the years. The results has been presented as individual drawings, prints, artist books and\/or as part of installations and collaborative projects. Another important aspect of my art practice is performance. This started in the -90 when I realized my theme needed another medium to get through to the audience. What I wanted was something physical and present to describe \u2018strength\u2019 and \u2018fragile\u2019 situations. The present body became an important tool in many of my works. Over the years some of this has been translated into short video-films and still-photos. My themes has of course also a variations over the years. \u2018Family\u2019 was one important aspect for a long period from the late -90s, and I still return to this sometimes. Over the last 15 years my concern had been about the Norwegian wealth, depending on our resources of natural gas and oil in the seabed. The performance series Norwegian Liquid has developed over several years to encompass a number of elements it has met along the way. Black and white; visually and linguistically, an ultimate contrast. Skin; the interface between individual and world. Identity; central in my art production in a variety of contexts, and especially in my early works focusing on femininity and masculinity, children and adults. Norwegian Liquid deals with the identity in tension between individual and nation. Our national and individual understanding often runs in contrast. The same can be said about reality and idea of nation, as well as of individual: Norway is presented as a country of pristine nature, while in fact we are the seventh largest oil exporter in the world. The individual is pulled between a traditionally moderate culture with roots in the rural, and a limitless, international, post industrial infotainment society.<\/p>\n

Tone Myskja: <\/strong>In my artistic practice I work with video as a visual and sculptural element through exhibitions, concerts, and stage performances. I have a musical approach, composing complex and layered videos and installations. Thematically, much of my work is related to the complexity of language, perception, and identity, and how human experience is shaped by the time we live in and the landscapes\u2014physical, social, and cultural\u2014we inhabit. We are always in motion: through time, thoughts, and the body. I create sculptural installations where bodily perception is just as integral to the experience as thought and vision. Scale and format are crucial elements in my artistic practice, both in the editing of video and in the physical design of sculptural components and video projections. I seek to offer viewers a contemplative and immersive experience.<\/p>\n

What does it mean for you to be featured in a collection like the Videokunstarkivet archive? How has this archive contributed to your  career or your perspective on art? <\/strong><\/p>\n

Mattias H\u00e4renstam: <\/strong>It is an honor to be included in this collection. And also the idea of the work not just \u201ddisappearing\u201d, but been taken care of and being available is a good feeling. The work included in this screening was done 20 – 25 years ago and it is of course a great pleasure to see it still being \u201dalive\u201d.  <\/p>\n

Paul Tunge: <\/strong>It\u2019s important because it means that there are an orginasation that protects and preserve the work over time, and that the films are avaiable for future studies.<\/p>\n

Pierre Lionel Matte:<\/strong> Being part of the archive is important to me for two reasons; 1, that my works can be discovered and seen in a larger context, and 2, since electronic media is vulnerable to technological changes, it can be preserved for posterity. That the archive also can be a resource for a larger audience to discover the great variety in Norwegian video art is inspiring.<\/p>\n

Randi Annie Strand:<\/strong> It means a lot to me to be part of Videokunstarkivet. Time-based art cannot be documented and communicated as easily as other artworks. As a result, they may be underrepresented in art history. The archive is an important source of research and a way to complement our art history.  The fact that you choose to show my film from 1999 shows both the validity of the archive and the truthfulness of the well-known expression Ars longa, vita brevis.<\/p>\n

Rita Marhaug: <\/strong>The existence of Videokunstarkivet is of great importance in several contexts. Knowing that your work will be preserved and available to audience and curators is one thing, being out of your own hands is securing. Art is of course a very individual activity, but I also believe in the force of art as an important element of building democracy and understanding and dialogue between people.<\/p>\n

Tone Myskja:<\/strong>  Videokunstarkivet is a very important collection for me. It is a great opportunity for people interested in video, performance and time related art to have an open, not curated, archived collection and a library to look into. Hopefully, everyone looking into the archive, me included, will find and learn about new and interesting artists. <\/p>\n

How does video art forge a connection with the viewer? What feelings or thoughts do you hope the audience in Ankara – T\u00fcrkiye will take away from your work?<\/strong> <\/p>\n

Mattias H\u00e4renstam<\/strong>: I think video art isn\u2019t all that different from other art forms – they all have to evoke a feeling and a curiosity in the viewer. I think all art is a very special form for communication that involves something that goes beyond language. And good art can communicate with anyone. That doesn\u2019t that it will be liked by everyone, but that it can communicate to anyone regardless of who you are and come from.<\/p>\n

Paul Tunge: <\/strong>My goal with the archtecture films has been to create a feeling of beeing in the buildings, the camera has that potential, foten there buildings can be hard to access, so its a fine day to document and give pipene the access. Im not an historian so i try with my films to say a little, to give a taste of a house, a chair or a painter, so it can work as a segway into the viewers own research.<\/p>\n

Pierre Lionel Matte:<\/strong> Since video art is time-based and can therefore contain a form of development, or dramaturgy, and over time a change in narrative, conceptual and emotional states, I believe  that video art can stimulate the audience’s curiosity – what comes next ?- and thus engage the audience both intellectually and emotionally. But as with much time-based contemporary art, the audience’s benefit will increase with the patience and effort they themselves bring to the work. Many of my works are based on everyday situations, such as a walk in the forest, and in this way I believe that the viewer can connect it to their own experiences. I hope that the audience can both recognize the poetry that exists around us in our lives, but also acknowledge the vulnerability of both humans and the natural world we are a part of.<\/p>\n

Randi Annie Strand:<\/strong> I have worked with both Braille and sign language, and presented the works to a broad audience, not based on group affiliation of any kind. Everyone experiences the world tactilely, everyone expresses essential things through body language. For me, both Braille and sign language are images of people’s ability and willingness to communicate despite obstacles and differences. I hope the film expresses and conveys a feeling of community  across all types of boundaries.<\/p>\n

Rita Marhaug: <\/strong>Video art can be so many different things, so it is hard to pinpoint one connection to the viewer. That said, video today is a very democratic medium in the way that \u2018everyone\u2019 with a smart phone has access to the tool. This is a very different situation from the media situation only 40 years back. My way of working with video, like my films show, is \u2018performing for camera\u2019 normally one take and in that sense telling the truth of the action, not hiding anything or speeding the time for the audience. In this way I hope the Ankara audience will have a feeling of presence. The location of the filming is in the north of Norway, a very different natural environment from Turkey. On the other hand, the nature present is the beach and the ocean, -both familiar concepts all over the world. The same thing could also be said about the material in play in the videos The Interface (Gresesnittet) and The Barrel (Fatet): the female body, the bathtub and the black oil. For more than 200 years the world economy has been dominated by the burning of carbon; coal, oil and gas \u2013all leading to the situation today of global warming and the tipping point. <\/p>\n

Tone Myskja: <\/strong>Most of my exhibited videowork is presented as sculptural installations. I hope that even though the three videos will be presented in a screening program in the Ankara exhibition it can give the viewer a contemplative and immersive experience.<\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"

Sanatsal prati\u011finizi k\u0131saca nas\u0131l tan\u0131mlars\u0131n\u0131z? \u00c7al\u0131\u015fmalar\u0131n\u0131zda genellikle hangi temalar veya kavramlar \u00f6n plana \u00e7\u0131k\u0131yor? Mattias H\u00e4renstam: \u00c7al\u0131\u015fmalar\u0131m film, heykel, enstalasyon, bask\u0131 resim ve daha pek \u00e7ok farkl\u0131 sanat formunu kaps\u0131yor. Malzeme veya medya ne olursa olsun, kontrol arzusu ve bu arzunun \u00e7\u00f6kt\u00fc\u011f\u00fc durumlara olan ilgi, \u00e7al\u0131\u015fmalar\u0131mda tekrar eden bir tema. Bunun \u00f6tesinde ise ba\u015far\u0131s\u0131zl\u0131k korkusu […]<\/p>\n","protected":false},"author":283014129,"featured_media":191,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1382,1377],"tags":[],"class_list":["post-109","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-roportaj","category-sinema-video"],"_links":{"self":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts\/109","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/users\/283014129"}],"replies":[{"embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/comments?post=109"}],"version-history":[{"count":2,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts\/109\/revisions"}],"predecessor-version":[{"id":860,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/posts\/109\/revisions\/860"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/media\/191"}],"wp:attachment":[{"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/media?parent=109"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/categories?post=109"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/unite-mag.com\/en\/wp-json\/wp\/v2\/tags?post=109"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}