Filmform (est. 1950) is dedicated to preservation, promotion and worldwide distribution of experimental film and video art. Constantly expanding, the distribution catalogue spans from 1924 to the present, including works by Sweden’s most prominent artists and filmmakers, available to rent for public screenings and exhibitions as well as for educational purposes.
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).
Lina Selander (b. 1973) lives and works in Stockholm, Sweden.
Lina Selander’s films and installations can be read as compositions or thought models, where ideas and conditions are weighed and tested. She examines the relationships between memory and perception, photography and film, language and image. The precise, rhythmic editing and use of sound create their own temporality and a strong inner pressure. Selander’s oeuvre recurrently explores a fascination for the phenomena and technologies that make images possible, thereby enabling history to be documented. Montage is used in the films to juxtapose images, while entailing a potential loss of content. Image meets text in a flow where meaning arises from the ostensibly unrelated, like echoes through and between the works. Selander’s works constitute a dense archive of observations, occasionally in dialogue with other films, art or literature. Their subject matters often stem from historic or ideological junctions, where one system or physical place collapses and something new begins to emerge.
Selander’s work has been shown at Kunst Haus Wien, Iniva (Institute of International Visual Arts), London; Index – The Swedish Contemporary Art Foundation, Stockholm; Moderna Museet, Stockholm; VOX – Centre de l’image contemporaine, Montréal and in international group shows such as Venice Biennale 2015; Kyiv Biennale 2015; Seoul Media City Biennale 2014; Manifesta 2012 in Genk, Belgium; Bucharest Biennale 2010; and at Haus der Kulturen der Welt, Berlin.
