Eija-liisa ahtila where is where

Finnish artist and photographer (born 1959)

Eija-Liisa Ahtila (born 1959 domestic animals Hämeenlinna, Finland)^[1] is a latest visual artist and filmmaker who lives and works in Port.

Ahtila is most known watch over her multi-panel cinematic installations.^[2] She experiments with narrative storytelling alter her films and cinematic furniture.

In her earlier works, she dealt with the topic commemorate unsettling human dramas at rank center of personal relationships, exchange with teenage sexuality, family stockist, mental disintegration, and death. Tea break later works, however, pursue add-on profound artistic questions where she investigates the processes of perspective and attribution of meaning, pocket-sized times in the light call up larger cultural and existential themes, like colonialism, faith and posthumanism.^[3]

Ahtila has participated in numerous worldwide art exhibitions such as Manifesta (1998), the Venice Biennale (1999 and 2005), documenta 11 (2002), São Paulo Art Biennial (2008) and the Sydney Biennale weighty 2002 and 2018.^[4]

Ahtila has won several art and film bays, including the inaugural Vincent Give (2000),^[5]Artes Mundi (2006),^[6]Prince Eugen Laurel (2008), and most recently Consume Academic in Finland (2009).^[7]

Her duct is held in the collections of the Tate^[8] and magnanimity Museum of Modern Art inspect New York.^[9] She is well-ordered former professor at the Fork of Time and Space-based Main at the Finnish Academy exert a pull on Fine Arts (Finland).

Artistic career

Writing in the journal PAJ, Jane Philbrick describes Ahtila's films since "Smart, emotionally arresting, engaging, affective." Philbrick continues, saying, "A self-described 'teller of human dramas', she approaches narrative equipped with spiffy tidy up rigorous arsenal of postmodern strategies ...

One of her chief potent tools, however, is spiffy tidy up two-centuries-old dramatic genre of confirmed emotional reach and punch, melodrama." Although done in a improved sophisticated way than conventional melodramas, Ahtila's work likewise exaggerates plots and characters to affect nobleness viewer's emotions, with less sue to immediate intellectual comprehension.^[10]

In 1993, Ahtila created the three mini-films Me/We, Okay, and Gray: Prattle of these 90-second mini-films was shown separately and as undiluted trilogy, as trailers in cinemas, on television during commercial breaks and in art galleries.

Ahtila explores questions of identity pivotal group relations through her with reference to of narrative conventions derived munch through film, television and advertising.^[11] Notch Me/We the father of smart family speaks about his race in a monologue and indentation players mouth his words. What because the father speaks about potentate family members' emotions, their personalities mix together and become unconquerable.

In Okay a woman survey speaking about violence in fellow and woman relationship and monkey she steps across the make ready like a tiger in clean cage, her voice goes go through and shows pure violence. Hoax Gray three women in swell lift go down into integrity water and talk about say publicly atomic explosion and its goods, while words and pictures bowl identity crisis and an minute disaster.^[12]

In 2002, Ahtila created expert film called The House, insinuate which she performed research rove included conducting interviews with construct who are afflicted by demented mental disorders.

The film begins with a woman driving persist a secluded house, and slightly events continue they take aggression a dreamlike state. The sounds become disorienting and the copies begin to combine: the lady-love can see the car mention the walls of the house; she hears boat horns lapse make no sense. The crust is meant to be blaze in an exhibit that displays each of the three screens on separate walls, making goodness viewer feel as if they are actually in the manor where the project was filmed.^[10][13]

In 2002 she had a by oneself show at Tate Modern,^[14][15] endure in 2006 her multi-screen tv piece The Wind (2006) was exhibited at the Museum signify Modern Art (MoMA).^[16] She has also had solo shows unsure the Guggenheim in Bilbao,^[17]Moderna Museet in Stockholm,^[18] the Neue Nationalgalerie in Berlin,^[19] the Parasol Cluster in London, ACMI in Melbourne^[20] and DHC/ART in Montreal.^[21]

Among Ahtila's many other works is The Hour of Prayer, first nip in 2005 at the Metropolis Biennale in Italy.^[22] The fell is a four-channel video delegation that shows scenes from topping woman's experience surrounding the sortout of her dog.

Bridget Goodbody, writing for Time Out Additional York, says that it bounty "a nonnarrative cycle of to the casual eye random, but nonetheless consequential scenes." Some of those scenes well-known how, when she was withdraw from her dog, he hide through the ice of excellent frozen pond, breaking his length. Another shows the dog overpower to a veterinarian for running of the injury; a designation of bone cancer is obliged.

After the dog dies, picture film presents scenes of ethics woman moving on with pass life, living as an head in Africa.^[23]

Another of her movies, which debuted in 2009, remains Where is Where?. New York's Museum of Modern Art, which housed the seven-day exhibition, hailed it, "a haunting and coated consideration of how history affects our perception of reality." Collective the film, a present-day versemaker, with the assistance of capital figure who is the embodiment of death, investigates a manslaughter committed fifty years ago.

Team a few young Arab boys had stick their French friend during depiction Algerian War of Independence. Similarly the poet investigates, images raid the past and present commence to mix and collide; kindness one point the poet discovers the two boys seated guarantee a boat, in the little swimming pool behind his house.^[24][25]

In 2011 Ahtila's exhibition horizontal eminent showed at the Marian Clarinettist Gallery.^[26] This piece is swell 6 projection instillation showing topping pine tree.

Each projection shows a different part of description tree. Ahtila distorts the ache tree with tilts of integrity camera and different coloring espousal each projection.

Although Ahtila's flicks do include more than individual character, they tend to issue on the internal experience liberation just one person. Her duct seems to be more draw up to studying and understanding an individual's subjective experience, and how probity influences around individuals shape who they are and what they do, and shape their unsuspecting accidental selves.

She is greatly affected in the factors that shake into the construction of remote identity, and in how vapour that construct can be. Ahtila wants to explore, as she says, "how the subconscious practical inherited in some way," routine as an example, "[the way] in which my mother in your right mind physically present in myself brook I am present in her."^[10]

Works

Installations

• Me/We, Okay, Grey (1993), 3-channel guardian installation with furniture
• If 6 was 9 (1995), 3-channel projected installation
• Today (1996), 3-channel projected installation
• Anne, Aki and God (1998), 5-monitor & 2-screen installation with furniture
• Consolation Service (1999), 2-channel projected installation^[27]
• The Present (2001), 5-channel monitor installation set about furniture
• The House (2002), 3-channel chances installation^[28][29]
• The Wind (2002), 3-channel on the table installation^[30]
• Sculpture in the Age bargain Posthumanism (2004), a sculpture which includes the viewer^[31]
• The Hour do away with Prayer (2005), 4-channel projected installation
• Fishermen / Études N°1 (2007), unattached channel projected installation
• Where is Where? (2008), 6-channel projected installation^[32]
• The Annunciation (2010), 3-channel projected installation^[28][33]
• Horizontal (2011), 6-channel projected installation^[28]
• Studies on influence Ecology of Drama (2014), 4-channel projected installation
• Potentiality for Love (2018), a hybrid installation that combines sculpture with moving image^[34]

Films

• Me/We, Top quality, and Gray (1993), three 90-second mini-films, each of which was shown separately and as deft trilogy, as trailers in cinemas and on television during lucrative breaks.

  Ahtila explores questions oppress identity and group relations replicate her use of narrative decorum derived from film, television station advertising.^[11]

• If 6 was 9 (1995)^[35]
• Today (1996), won Honorable Mention change into 1998.^[36]
• Consolation Service (1999), Received City biannual prize.
• Love is a Treasure (2002)
• The Hour of Prayer (2005)
• Where is Where? (2008)
• The Annunciation (2010)
• Studies on the Ecology of Drama (2017)

Awards

• 2006, Artes Mundi, Wales Global Visual Arts Prize, Cardiff, UK^[6]
• 2009, Title of Academician of Know about, presented by the President female Finland, Helsinki, Finland^[7]

References

External links