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Maren Juell Kristensen
Page 1 | 2 | Biography | Information & News
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Nothing to see here/passage
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The main body of Maren's work is video installations. These are spatially considered and have purpose made objects/ architectural pieces or else they utilise the already existing environment. The videos are loops and are considered sculpturally from initial creation. Rhythm in editing and positioning in space, both in videos and objects, are made to work together as an immersive environment. Maren refers to popular culture and mass media in her work, our expectation for a structural narrative and dream that exits in this realm. The friction between reality and fiction in these stories that surrounds us becomes a space where doubt and ambivalence reside.
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Nothing to see here/chamber
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“It’s so lovely” 2005 (right)
is a video triptych that can be single channel. Camera movements, framing and looping is used to create a scenario where fear escalates and become overdramatic. It is based in a teenage fictional world where a narrative takes over reality and thereby becomes real.
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It's so lovely
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We Walked Miles For You
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Going up front
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“Nothing to see here”2006 (above and top)
Is a video installation in three parts. 'Window' faces the street and consist of gaffa tape on window glass. 'Passage' consist of three videos prjoected onto the floor, a smake machine and a fan with videotape. 'Chamber' consist of a video on a cctv/broadcast montor, gaffa tape and wire. For more images see artists website.
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The installation refers to a sentence commonly used by policemen on TV and film: “Nothing to see here...” –usually followed by ”move along” or ”please disperse”. It is aimed at an unwanted audience at a crime scene but works against its intended purpose; the audience immediately understands that there is indeed something to see. With this Maren Juell Kristensen is investigating ambivalences in relation to the use of symbols and signs, and plays with the material context and the absent protagonist (what happened here?). The space of the Gallery is in this setting an important context on its own, since this is a space one does come to do just that - see.
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“We Walked Miles For You” 2005 (above right)is a video triptych projected onto three walls. The timing and pacing of the videos overlap and creates an eternal parade. The left projection (fakkeltog) has directional sound.
This piece deal with ambivalence towards rituals and ideologies where framing partly excludes content and the authenticity of these events can be questioned.
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Going up back
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“Going Up”2004 (above and left) is a installation with video. It consists of a life size built set where front and back are both constructed to convey or conceal. The reception waiting area is pristine but with minimum of effort and the back is self-consciously shoddy. The small worn TV set play’s a video with treated clips of Marilyn Monroe’s last performance and last film. This is audible from the reception area but audience have to navigate to the backstage room to see.
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