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EXCAVATION OF THE IMAGE - IMPRINT, SHADOW, SPECTRE, THOUGHT (2015)
Excavation of the image — Imprint, shadow, spectre, thought 

Solo exhibition, the Swedish Pavilion at the 56th International Art Exhibition of la Biennale di Venezia: Arsenale, Venice 

The exhibition Excavation of the image — Imprint, shadow, spectre, thought compiles a group of works and documents describing a migration between utopia and collapse. Where technological or ideological development as generators of energy and destruction are inescapably linked. The installation Lenin’s Lamp Glows in the Peasant’s Hut (2011) is based on Dziga Vertov’s film The Eleventh Year from 1928, about the construction of a hydroelectric plant by the Dnieper, juxtaposing it with contemporary footage from nearby Pripyat, a ghost town after the Chernobyl disaster. A series of radiographies corroborate the symbiosis between early photography and the discovery of radioactivity, which, in turn, seems to presage the invisible code of digital photography. In Anteroom of the Real (2011), the artist’s hands browse stills from the same material, raising questions of representation and creation of meaning. Model of Continuation (2013) is the hub of the exhibition, where the stratified spatialities of the film describe a series of relationships between experienced, recorded and projected image. Silphium (2014) is based on an ancient coin imprinted with the eponymous priceless and now extinct medicinal herb. The sense of something lost and obscured is like a filter across the film’s fragmentary historiography; Hans Holbein’s enigmatic painting The Ambassadors, Chris Marker’s film La jetée, with its time warp. The entirely new work The Offspring Resembles the Parent (2015), like Silphium a collaboration with Oscar Mangione, ends in a contemplation of fictive economies, dormant powers and hyperinflation of values—human and monetary.
 
Montage forms a superstructure in Lina Selander’s cinematic installation in Arsenale—in the contrast between the different meanings and materiality of the films and objects, between projection, light and shadow. The draperies in the open space allow image, sound and information to leak between the different parts. The soundtracks link the pictorial surfaces and creates its own landscape, at once random and composed. As viewers, we edit our own experience as we move through the space. 
Text: Lena Essling


Entrance


Vitrine table, 6 m long containing 24 radiographs.





Vitrine table and the film Silphium





Lenin’s Lamp Glows in the Peasant’s Hut,
Continuous b/w HD-video (23 min), vitrine (steel, glass and wood) with 24 radiographs.
(90 x 600 x 36 cm) and a stainless steel text plaque (90x50 cm). 






Polishesd stainless steel text plaque (90x50 cm)



 





Lenin’s Lamp Glows in the Peasant’s Hut, continuous b/w HD-video (23 min)
 


The Offspring Resembles the Parent, 2015
Hd video, colour, sound 13:44 min.








Model of Continuation, Working Archive and The Offspring Resembles the Parent.


Silphium and Working archive: Radiographs, fossils, stone containing uranium,
ancient coin with Silphium plant, 140 photographs from the film Anteroom of the Real,
Anteroom of the Real (video) on an Ipad, publications and documents. 


Silphium


Model of Continutaion





Working archive: Radiographs, fossils, stone containing uranium, ancient coin with Silphium plant, 140 photographs
from the film Anteroom of the Real, Anteroom of the Real (video) on an Ipad, publications and documents. 

 



Commissioner: Ann-Sofi Noring 
Curator: Lena Essling
Exhibition architecture in collaboration with Studio Nāv 
With generous support from Lena and Per Josefsson
With thanks to Kvadrat
 
Installation view, the Swedish Pavilion at the 56th International Art Exhibition of la Biennale di Venezia: Lina Selander, Excavation of the Image - Imprint, shadow, spectre, thought, 2015.
Commissioned by Moderna Museet.
© Lina Selander. Photo: Andrea Rossetti.