Nina Canell
12 Mar - 05 Jun 2011
© Nina Canell
Perpetuum Mobile (25 kg), 2009-2010
Courtesy: Konrad Fischer Galerie, Mother ́s Tnkstation and Galerie Barbara Wien
Perpetuum Mobile (25 kg), 2009-2010
Courtesy: Konrad Fischer Galerie, Mother ́s Tnkstation and Galerie Barbara Wien
NINA CANELL
March 12 - June 5, 2011
Science, nature and technology play a key role in the installations of the Swedish artist Nina Canell (born in Växjö, Sweden, in 1979). Her works, in which she combines all kinds of everyday objects, discarded electrical appliances and natural materials such as water or wood into cinematic assemblages, look like test assemblies in an improvised laboratory. In them, she often refers to scientific experiments from the beginning of the modern age, visualizing biological and physical phenomena in unaccustomed contexts. The cause and effect of movement sequences become visible as chain reactions, and energy transformation processes and changes of aggregate states are sensually perceivable. Many of her installations include noises that the artist produces herself by, for example, translating arithmetical number series in chords or by recording and amplifying sounds of electromagnetic storms. The fragile aesthetics inherent in Canell’s works are primarily fuelled by the synaesthesia of these components, which only produce a coherent harmony when their interplay is precisely arranged.
March 12 - June 5, 2011
Science, nature and technology play a key role in the installations of the Swedish artist Nina Canell (born in Växjö, Sweden, in 1979). Her works, in which she combines all kinds of everyday objects, discarded electrical appliances and natural materials such as water or wood into cinematic assemblages, look like test assemblies in an improvised laboratory. In them, she often refers to scientific experiments from the beginning of the modern age, visualizing biological and physical phenomena in unaccustomed contexts. The cause and effect of movement sequences become visible as chain reactions, and energy transformation processes and changes of aggregate states are sensually perceivable. Many of her installations include noises that the artist produces herself by, for example, translating arithmetical number series in chords or by recording and amplifying sounds of electromagnetic storms. The fragile aesthetics inherent in Canell’s works are primarily fuelled by the synaesthesia of these components, which only produce a coherent harmony when their interplay is precisely arranged.