We inhabit the skeletal roller coasters, desiccated waterslides, stilled ferris wheels, slowed train tracks, and baby flyers poised for flight in Mie Olises THe exquIsITe CapabIlITIes Of THe flYINg CarpeT as we might inhabit the days of abandonment. Hers are the places from whom one, or many, have removed their thoughts, their desires, and transferred them elsewhere. Objects turn to stone. Veins contract. skin freezes. One be-comes cold here. Neglect, faded colours, faded glory, manifest themselves as if unkempt, unwashed hair, an unwashed body. Movement has ceased. presence, left behind, is happened upon. rendered, built, it is constructed as much through the layering of thick planes of creamy browns, blacks, grays, pinks and reds, as through the assembly of worn slats of wood, as through series of temporal frames. In these practical signs of abandonment there is no rancor, no rage, only the precarious-state-of-things, found in-the-midst.

Vi indtager skeletagtige rutsjebaner, udtrrede vandrutsjebaner, tavse pa-

riser hjul, slve togskinner og sm svvende babyflyvere i Mie Olises tHE

ExquIsItE CapaBIlItIEs Of tHE flYINg CaRpEt p samme mde, som

vi bebor dagene, hvor vi forlader tingene og stederne omkring os. Her

er stederne, hvorfra en eller mange har taget deres tanker, deres inderste

nsker for at fre dem andre steder hen. genstande bliver som forstenede.

Blodrer trkker sig sammen. Huden fryser og man bliver ramt af kulden

her. forsmmelse, falmede farver, visnet storhed viser sig tydeligt, som var

der tale om uvasket hr eller en uvasket krop. Bevgelser er blevet bremset.

tilstedevrelse fortoner sig i en fjern fortid. gengivet, bygget og konstrueret

lige s meget gennem de forskellige lag og planer af lyst brunt, sorte, gr,

lyserde og rde farver som gennem bunken af brugte trlister og serier af

tidsmssige rammer. I disse konkrete tegn p svigt og bortrejse er der ingen

bitterhed eller had, ingen vrede, kun tingenes vaklen og usikre tilstand, midt

i det hele.

tINa DiCaRlO

Independent writer and former curator for MoMa, New York.

Udgivet af

SNYK Skive Ny Kunstmuseum i forbindelse med udstillingen:

the exqUiSite CapabilitieS of the flYiNg Carpet

25. september - 22. november 2009

redaKtioN SNYK Skive Ny Kunstmuseum / Mie olise

overSttelSe Jrgen eriksen

foNt futura og Univers

papir 200 gr. Silk fSC

trYK og biNdiNg Skive offset

fotograf ole geerthsen

filMfotograf videoer Simon ladefoged

filMfotograf 8 MM filM armin Mobasseri

lYd og KoMpoSitioN videoer goodiepal

alle vrKer venligst stillet til rdighed af Mie olise

CopYright 2009 SNYK Skive Ny Kunstmuseum og forfattere

CopYright 2009 alle vrKer Mie olise

grafiSK deSigN goodmorning technology / ida Marie

iSbN 978-87-89762-33-3

Mie oliSe taKKer

SNYK Skive Ny Kunstmuseum: rasmus vestergaard,

Mette dyrberg, randi Woxholt, brge Jensen og Jens stergaard

Nobert Witte, tina diCarlo, oliver thirschsky,

anabelle de gersigny, ida Marie Nissen, Martin rosengaard,

Mette Moestrup, Johan albrecthsen, Simon ladefoged,

armin Mobasseri, goodiepal, ole geerthsen, lene lavtsen,

asser Munch, barbara davis, alex duve, ole & lise Kjrgaard,

lrke olise Kjrgaard, Jakob Keller, frederikke aagaard,

lene Nrgaard, Mia-Nelle drschler, ida Kvetny, Maria Kai,

all Skowheganers, tamy ben-tor, Miki Carmi, Katherine bradford,

hasan elahi, ester partegas, ernesto pujol,

den hielmstierne-rosencroneske Stiftelse,

NeS, Jp fonden, peter larsen Kaffe

deNNe pUbliKatioN er Stttet af: Statens Kunstrd

Published by

sNyK skive Ny Kunstmuseum on the occasion of the exhibition:

The exquisiTe CaPabiliTies of The flyiNg CarPeT

25 september - 22 November 2009

ediTor sNyK skive Ny Kunstmuseum / Mie olise

TraNslaTioN Jrgen eriksen

TyPefaCe futura and univers

PaPer 200 gr. silk fsC

PriNTed aNd bouNd skive offset

PhoTograPher ole geerthsen

CiNeMaTograPher videos simon ladefoged

CiNeMaTograPher 8 MM filM armin Mobasseri

souNd aNd CoMPosiTioN videos goodiepal

all worKs Courtesy Mie olise

CoPyrighT 2009 sNyK skive Ny Kunstmuseum and authors

CoPyrighT 2009 all worKs Mie olise

graPhiC desigN goodmorning Technology / ida Marie

isbN 978-87-89762-33-3

Mie olise would liKe To ThaNK

sNyK skive Ny Kunstmuseum: rasmus vestergaard, Mette dyrberg,

randi woxholt, brge Jensen and Jens stergaard

Nobert witte, Tina diCarlo, oliver Thirschsky, anabelle de gersigny,

ida Marie Nissen, Martin rosengaard, Mette Moestrup,

Johan albrecthsen, simon ladefoged, armin Mobasseri,

goodiepal, ole geerthsen, lene lavtsen, asser Munch,

barbara davis, alex duve, ole & lise Kjrgaard,

lrke olise Kjrgaard, Jakob Keller, frederikke aagaard,

lene Nrgaard, Mia-Nelle drschler, ida Kvetny, Maria Kai,

all skowheganers, Tamy ben-Tor, Miki Carmi, Katherine bradford,

hasan elahi, ester Partegas, ernesto Pujol,

den hielmstierne-rosencroneske stiftelse,

Nes, JP fonden, Peter larsen Kaffe

This PubliCaTioN is suPPorTed by: The danish art Council

COLLAPSE AND INTERPRETATION - ENDEAVOURS INTO THE REALKollapS og tolKNiNg - beStrbelSe p det reellerasmus vestergaard

ALLEgORIES Of RUINS AND THE INEVITAbLE UTOPIAS Of AbANDONmENT allegorier over rUiNer og de forladte StederS UUNdgelige UtopierTina diCarlo

PAINTINgS / Malerierflying Carpet, butterfly, spider, Jet star 2, babyflyer, watergame

THE VISUAL RE-INTERPRETATION Of LOST PARADISE by mIE OLISEMie Olise & den visuelle genfOrtOlkning af det tabte Paradisoliver orest Tschirky

VIDEOS / videoer

STRUCTURE / KoNStrUKtioN

INTERVIEw / iNtervieWanabelle de gersigny

01

02

03

04

05

06

07

snYk Skive Ny Kunstmuseum, 2009

INTRODUCTION it is a great pleasure for sNyK skive Ny Kunstmuseum, to present a solo exhibition with one of the most prominent and talented young artists on the danish artscene: Mie olise.

as the exhibition The exquisiTe CaPabiliTies of The flyiNg CarPeT clearly shows, Mie olise works within the fields of archi-tecture, installation, painting and new media. Crossing the borders between the different artistic categories, her very personal artworks are marked by a characteristic nerve and a dynamic energy. The figurative language that she employs is spontaneous, sensuous and powerful. The artworks are based on a subtle and fascinating dou-ble vision where the rough and potent quality of her works is held in check by a clear focus on the sensuous nuance of the detail. or in other words, Mie olise aims at an artistic expression where the world is put forward in a refined mixture of expressive wildness and delicate strength.

an abandoned and deserted amusement park in east-berlin is the starting point for the artworks which are on display in this exhibition. in that sense The exquisiTe CaPabiliTies of The flyiNg CarPeT is characteristic of Mie olises main objective, since abandoned buildings and constructions are predominant motifs in her artistic production. several of her projects have their starting point in places where the original idea has shrunk, and where the fundamental nar-ration or utopia has vanished. in her work Mie olise seeks the romantic - melancholic energy of ruinous decay and she uses this energy to create a new meaning.

sNyK skive Ny Kuntmuseum, constantly seeks to exhibit new expres-sions from the contemporary artscene. at the same time the museum pays special attention to the figurative and neo-realistic art of today. art that offers an expression or a practice which is deeply rooted in a structural and relational relationship to the physical reality that surrounds us, to the surrounding society. over the most recent years

the museum has managed to establish a collection of contemporary danish paintings. with Mie olises exhibition the museum presents a young artist who, through her works, suggests new ways of looking at the world, and who tries to introduce new and different ways of understanding the time and world we live in. Thus, Mie olises artis-tic project is very much in line with sNyKs profile and main interest.

having this publication in mind, sNyK skive Ny Kunstmuseum, wants to thank the writers Tina diCarlo (us), oliver orest Tschirky (Ch) og anabelle de gersigny (uK). Their articles not only offer an insight into and a perspective on Mie olises artistic world. They also underline the international connection and the broad view that characterizes her art and her practice. we would also like to express our thanks to:

sTaTeNs KuNsTrddeN hielMsTierNe-roseNCroNesKe sTifTelseNiels wessel bagges KuNsTfoNdsKowhegaN arTisT resideNCyJP foNdeN PeTer larseN Kaffe

who all have supported Mie olise in her work. last but not least a warm thanks to Mie olise for an inspiring collaboration and not least for the unique artworks that she has created with the exhibition at sNyK in mind. it is a great pleasure for the museum that now, after having exhibited in germany, england and the usa, Mie olise can show her artworks to a danish audience.

rasMus vesTergaarddirector, Ma

iNtrodUKtioN det er en fornjelse for SNYK Skive Ny Kunstmuseum at kunne prsentere en soloudstilling med et af de mest markante talenter p den unge, danske kunstscene: Mie olise.

Som udstillingen the exqUiSite CapabilitieS of the flYiNg Carpet viser, arbejder Mie olise i et kunstnerisk krydsfelt mellem arkitektur, installation, maleri og new media. p tvrs af de kunst-neriske medier emmer hendes srdeles personlige vrker af en karakteristisk nerve og dynamik. det figurativt orienterede formsprog er umiddelbart, sansemttet og kraftfuldt. vrkerne udtrykker en fascinerende dobbelthed, hvor deres grove, potente natur holdes i skak af et tydeligt fokus p nuancens sanselighed. Mie olise tilstr-ber et billedkunstnerisk udtryk, hvor verden vlter frem i en blanding af ekspressiv vildskab og forfinet styrke.

et forladt tivoli i stberlin danner afst for vrkerne, der indgr i udstillingen. the exqUiSite CapabilitieS of the flYiNg Car-pet er i den forstand karakteristisk for Mie olise, idet et gennemg-ende interessefelt for hende er forladte bygninger og konstruktioner. flere af hendes projekter tager deres afst i steder, hvor den op-rindelige id er svundet ind, hvor den bagvedliggende fortlling eller utopi er borte. i sit arbejde sger Mie olise forfaldets (ruinens) romantisk melankolske energi og anvender denne energi til at skabe ny betydning.

SNYK Skive Ny Kunstmuseum sger konsekvent at vise de nyeste billedudtryk. Samtidig har museet et srligt fokus p den figurative, nyrealistiske samtidskunst. en kunstnerisk formgivning eller praksis, der udspringer af et strukturelt, relationelt forhold til den faktiske virkelighed, til det omgivende samfund. her har museet de seneste r opbygget en samling af dansk nutidsmaleri. Med Mie olises udstilling prsenterer museet en ung billedkunstner, der med sine vrker byder ind med nye mder at se verden p og dermed s-ger at bne for nye, anderledes forstelsesrammer i forhold til den

samtid, vi lever i. dette kunstneriske projekt knytter Mie olises kunst nrt til SNYK Skive Ny Kunstmuseums arbejdsfelt.

i forbindelse med denne publikation nsker SNYK Skive Ny Kunst-museum at takke skribenterne tina diCarlo (US), oliver orest tschir-ky (Ch) og anabelle de gersigny (UK). deres artikler giver ikke blot et indblik i og perspektiv p Mie olises kunstneriske univers. de understreger endvidere den internationale forankring samt det udsyn, der prger hendes kunst og virke. ligeledes skal rettes en stor tak til:

StateNS KUNStrddeN hielMStierNe-roSeNCroNeSKe StiftelSeNielS WeSSel baggeS KUNStfoNd SKoWhegaN artiSt reSideNCY Jp foNdeNpeter larSeN Kaffe

der har stttet Mie olise i hendes arbejde. og endelig en stor og varm tak til Mie olise for et inspirerende samarbejde og ikke mindst for de enestende vrker, hun har skabt specifikt til udstillingen p SNYK Skive Ny Kunstmuseum. det er en glde for museet, at Mie olise efter en rkke udstillinger i tyskland, england og USa nu kan vises til et dansk publikum.

raSMUS veStergaardMuseumsleder, mag.art

rasMus vesTergaard

COLLAPSE AND INTERPRETATION - ENDEAVOURS INTO THE REAL

KollapS og tolKNiNg- beStrbelSe p det reelle

01

COLLAPSE AND INTERPRETATION -ENDEAVOURS INTO THE REAL

Mie olises artwork consists of both decay and reconstruction. The spectator is put into an undecided position. are the sketchy motifs dissolving, are the cars of the fairground carousel running so fast that they splinter, are the splashes of paint signs of dissolution? or, are the motifs arrested in time to show their movements, arrested in an attempt to catch and grasp the actual structure of an intensified moment? The answer is obvious and at the same time out of reach. Mie olises artwork offers a twofold journey. a journey to the land of recollection. a journey to the present moment. her works lead us in two directions and are nourished by the inevitable clash between expectations and reality.

using a deserted and decayed amusement park from east berlin, spreepark, as her starting point, Mie olise embarks on a twofold journey. we all know the rush from the roller coaster, the sound of enthusiastic squeals, the sweet smell of candy floss, the inner thrill of excitement. Memories (both good and bad) are awakened when the word funfair are mentioned. we remember ourselves as children in a carefree universe. These expectations and memories are exactly what initiate the journey. however, the clash between this journey and the other one the journey into the real world is marked evidently. The funfair has been deserted, the amusements have been damaged, broken windows, silence prevails.

initially the difference between recollection and reality is expressed through a feeling of melancholy that relates to the loss of the whole idea behind the amusement park. This feeling of melancholy is ex-pressed most evidently in the video production MelaNCholiC Noise. in this work the handheld camera examines the reality that the decayed buildings and amusement activities represent with an

almost insisting voyeurism. The camera captures the melancholic atmosphere and the physical condition of the place which is present in both the soundtrack and cine camera quality of the video. but at the same time the camera seems to question the present logic of the wrecked amusements and the ideas behind them. This archeologi-cal experiment of the senses creates a thematic framework for the other works in the exhibition.

Mie olise often works with projects that are based on a single con-cept that embraces the whole process of different artistic activities. although all the works are autonomous, they also affect and enrich each other. The impressions and the different moods that MelaN-CholiC Noise seems to pass on to the spectator are vigorously re-vived through a poetic logic that motivates the paintings and defines the constructive rules that apply to the gigantic structure CollaPs-iNg/risiNg. free and independent of the original setting. The actual funfair in berlin is secondary. it offers an opportunity to move on. To reach something which is real, something with a deeper mean-ing. spreepark is a conceptual starting point that ignites the clashes and the confrontations that create the energy in Mie olises artwork. The contrast between our recollection (where we were) and our present reality (where we are now) is the crucial factor. Through a very concrete investigation, Mie olise moves into decayed territory to register the difference between the original thoughts and idea and a present now. accordingly she changes her way of looking at the world, and subsequently, in her paintings and constructions, she tries to reconstruct a new meaningful reality.

Mie olises figurative language is very spontaneous, sensuous and powerful. she captures energy and holds the rough and potent quali-

rasMus vesTergaard

ty of her works in check by focusing on the nuance of the detail. in the almost realistic paintings she aims at an artistic expression, where different worlds are put forward in a refined mixture of expressive wildness and delicate strength.

The abandoned place, which now presents itself as a transformed structure, is interpreted as a radically different reality. Mie olise penetrates this reality, longing to find the essence of the real, the au-thentic quality of the present place. This endeavour makes it possible to relate Mie olises artistic project to what can be characterized as a neo-realistic approach. having this neo-realistic approach, the artistic process is based on a structural and relational relationship between reality and art. The neo-realistic art creates a dialogue with our present reality by offering different ways of looking at the world and by establishing a dialogue with the viewer. by focusing on the neglected sides of life, we are given the opportunity to see the world again. although this artistic practice has reality as its main objective, it does not necessarily seek congruency or resemblance between art and reality. The purpose is to maintain a focus on what is real and what is meaningful. Thus, what is real can and will not be uncovered or revealed in a spontaneous form based on copying the world. The real has to be a constructed and created extract. The realistic practice is not tied to time and style, but has to be seen as a critical strategy which can be used to create an extract of real-ity from an object or from any given context. it would limit the potential forces of realism if it was defined as an attempt to analyze, decode and interpret the physical world in relation to a political or re-ligious definition of truth. The real is far more integrated in the new story, the new narration which is constructed by the artwork. The real is an interpretation of reality and it is a product of the dynamic interchange between object (the world) and subject (the artist).

This quest for meaning is an important element in Mie olises artistic project. several of her projects including The exquisiTe CaPabili-Ties of The flyiNg CarPeT have their starting point in a world where the fundamental truth, what you believed in then, has literally shrunk. People have moved, are gone, do not use the place any long-er. The original stories that should carry these places into the future and support our search for meaning do not make sense anymore. it is tempting to see the parallels between the collapse of the eastern-european systems and the decay of the fun fair, but this is just one way to approach Mie olises project.

The artworks express a persistent search for a new meaning. how do we meet and comprehend our immediate surroundings, how do we choose our motif, how do we get access to the true, meaningful layers of reality? Mie olises strategy is to unfold the real within reconstruc-tion. The demolished places are rebuilt according to a new system-atic order, a new constructive idea, where the meaningful fragments, which the past holds, are recaptured. but not to create a complete whole where the original balance and coherence is re-established. in the artworks this is expressed by means of an expressive and sketchy touch which contradicts the urge to find new absolute truths. To Mie olise, the sketch seems to be associated with a sense of originality which allows the fundamental idea to come forward.

Mie olises artwork is marked by a distinct postmodern cognition that the great narrations or ideologies have died. Today we are facing a fundamental challenge. we have to find a structure which contains a true personal meaning without offering a universal truth based on monocultural, political or religious, arguments. or in other words; we can pick and choose from different sets of beliefs in order to create a paradigm of values and beliefs that correlates with our own lives. we do not take absolute truths for granted. however, one of the side effects is a growing complexity in our lives. Nothing is already there, everything is worth a discussion, all things must be seen in context. This realization is visible in numerous places in public life, in society. in Mie olises production we do not find a complete story. The vi-sion into the deepest layers of reality that pervades the artworks makes us faintly see the real as fragments of the truth. you meet glimpses of isolated truths that, put on a line next to each other, might offer a coherent picture of reality.

KollapS og tolKNiNg -beStrbelSe p det reelle

Mie olises kunst er lige dele forfald og genopbygning. beskueren er stillet i en uafklaret position. er de skitseagtige motiver ved at g i oplsning, slynges karruselvognene s hurtigt rundt, at de splin-tres, er malerstnkene tegn p oplsning? eller, er motiverne sgt fastholdt i hast for at skildre deres bevgelse, fastholdt i et nske om at indfange den faktiske struktur i et stemningsmttet jeblik? Svaret ligger ligefor og samtidig uendeligt langt borte. Mie oli-ses kunst er en dobbelt rejse. en rejse til erindringens rige. en rejse til vores her-og-nu. vrkerne indeholder to bevgelser og tager nring af de uundgelige sammenstd mellem forventningen og virkeligheden.

Med omdrejningspunkt i en forladt og forfalden stberlinsk forlystel-sespark, Spreepark, foretager Mie olise sin dobbelte rejse. vi ken-der alle suset fra rutsjebanen, lyden af begejstrede hvin, den sde duft af candyfloss, det indre gys af spnding. Minderne (gode som drlige) bliver ivrksat blot ordet tivoli nvnes. vi husker os selv som brn og det sorglse univers. det er denne forventning og erindring, som indleder rejsen. imidlertid er sammenstdet med den anden rejse rejsen i den faktiske verden markant. tivoliet er forladt, forlystelserne delagte, knuste ruder, stilheden hersker.

forskellen mellem erindring og virkelighed kommer indledningsvis til udtryk i en melankoli over tabet af hele ideen, som forlystelses-parken byggede p. tydeligst kommer dette til udtryk i videovr-ket MelaNCholiC NoiSe. i vrket undersger det hndholdte kamera med nrmest voyeuristisk insisteren den virkelighed, som de forfaldne bygninger og forlystelser reprsenterer. Kameraet op-fanger stedets tilstand med en melankolsk tone slet an i bde vrkets smalfilmsprg og lydside. Men samtidig synes kameraet at udsprge de forliste forlystelser om deres nuvrende logik og idgrundlag. dette sanse-arkologiske eksperiment danner afst for udstillingens vrige vrker.

Mie olise arbejder ofte i projekter, som bygger p et koncept for den samlede kunstneriske proces. Nok str vrkerne selv, men samti-dig udfolder de hinanden. indtrykkene og stemningerne, der fasthol-des i MelaNCholiC NoiSe, bliver vitaliseret gennem en poetisk logik, som motiverer malerierne og definerer de konstruktionsms-sige spilleregler for kmpestrukturen CollapSiNg/riSiNg, frit og uafhngigt af den oprindelige lokalitet. det stberlinske tivoli er som sdant sekundrt. det er et redskab til at n videre. Nr noget der er gte, noget som har betydning. Spreepark er et idemssigt

raSMUS veStergaard

udgangspunkt, der ivrkstter det sammenstd, som skaber ener-gien i Mie olises vrker. Kontrasten mellem vores erindring (dr, vi stod) og vores virkelighed (dr, vi str) er afgrende. Mere konkret sger Mie olise ind i det forfaldne for at registrere forskellen mel-lem de oprindelige tanker og et nu. herefter ndrer hun sin optik for i maleriet og konstruktionerne at opbygge en ny meningsfuld virkelighed.

Mie olises figurativt orienterede formsprog er umiddelbart, mt-tet og kraftfuldt. hun skildrer energierne og lader vrkernes grove, potente natur holdes i skak af et tydeligt fokus p nuancens sanse-lighed. i de nsten realistiske malerier tilstrbes et billedkunstnerisk udtryk, hvor verdenen vlter frem i en blanding af ekspressiv vild-skab og forfinet styrke.

det forladte, der nu str som en transformeret struktur, bliver tolket som en radikal anden virkelighed. Mie olise trnger ind i denne virkelighed med en lngsel efter at finde ind til det reelle, det virke-lige, det gte i stedets nuvrende form. denne bestrbelse knytter Mie olises kunstneriske projekt nrt til, hvad der kunne kaldes en nyrealistisk praksis. i den nyrealistiske praksis er den kunstneriske formgivning bret af et strukturelt, relationelt forhold mellem virkelig-hed og kunst. den nyrealistiske billedkunst gr i dialog med vores virkelighed ved dels at tilbyde anderledes mder at se verden p, dels at sge en direkte dialog med beskueren. ved eksempelvis at fokusere p det oversete, det ikke-sete, bliver vi i stand til at se p ny. der er tale om en praksis (en handling), der, sknt den har virkeligheden som objekt, ikke sger en lighed med verden som den ser ud. Mlet er at opretholde et fokus p det reelle, det be-tydningsbrende. det reelle kan og bliver alts ikke afdkket i en umiddelbar form ved fx at kopiere verden. det reelle skal udtrk-kes, konstrueres og skabes.

den realistiske praksis er ikke bundet til tid og stil, men skal forsts som en kritisk strategi, der kan anvendes til at uddrage det reelle fra objektet, fra den givne kontekst. det vil vre begrnsende for realismens potentiale at definere den som forsg p at kortlgge, afkode og fortolke den fysiske verden i relation til en given fx politisk eller religis sandhed. det reelle er derimod indlejret i den nye fortlling, den nye historie, som vrket konstruerer. det reelle er en tolkning af virkeligheden, der opstr i det dynamiske mde mellem objekt (verden) og subjekt (kunstneren).

denne sgen efter mening er en vigtig linje i Mie olises kunstneriske projekt. flere af hendes projekter ogs the exqUiSite Capabi-litieS of the flYiNg Carpet tager udgangspunkt i en verden, hvor den underliggende sandhed, det man troede p bogstaveligt talt er svundet ind. Menneskene er flyttet, er borte, bruger ikke ste-det. de oprindelige fortllinger, som skulle bre disse steder, og vores forventning om betydning giver ikke lngere mening. det er fristende at se parallellerne mellem det steuropiske systems kol-laps og tivoliets forfald, men dette er blot en tanke, der kan lses ind i Mie olises projekt.

vrkerne udtrykker en konsekvent sgen efter ny mening. hvordan mder og forstr vi omverdenen, hvordan udvlger vi vores motiv, hvordan finder vi ind i de gte betydningsskabende lag? Mie oli-ses strategi er at udfolde det reelle i genopbygningen. de faldne steder bliver genopbygget efter en ny systematik, en ny konstruktion, hvor de betydningsbrende brudstykker, som det svundne indehol-der, bliver indfanget. Men vel at mrke ikke for at skabe totale hel-heder, hvor balancen og en sammenhngende virkelighedsopfat-telse er genoprettet. i vrkerne bliver dette udtrykt ved et ekspressivt, skitseagtigt prg, der modstter sig nye absolutte sandheder. for Mie olise synes skitsen at indeholde en oprindelighed, som lader den grundlggende id trde frem.

Mie olise bygger sin kunst med en distinkt postmoderne erkendelse af de store fortllingers dd. vi er i dag stillet over for en grund-lggende udfordring. vi skal finde en struktur, der er sand for os, men som ikke rummer en politisk, religis enhedskulturs overordnede sandhed. eller sagt p en anden mde; vi shopper rundt i forskellige holdningskomplekser for selv at sammenstte et tros-/holdningspa-radigme, der stemmer overens med netop vores liv. vi tager ikke totaliteterne, sandhederne for givet. biproduktet er stigende kom-pleksitet. intet er givet, alt er til diskussion, alle forhold m vurderes fra situation til situation. denne erfaring er synlig et utal af steder i offentligheden, i samfundet. hos Mie olise finder vi ikke en hel fortlling. dybdesynet, der underbygger vrkerne, lader os ane det reelle, giver fragmenter af sandhed. det er glimt af de enkeltst-ende erkendelser, der, nr de sttes p linje, muligvis kan danne et sammenhngende billede af virkeligheden.

ALLEgORIES Of RUINS AND THE INEVITAbLE UTOPIAS

Of AbANDONmENT

allegorier over rUiNer og de forladte StederS

UUNdgelige Utopier

02

TiNa diCarlo

does my presence here change things?ii i realise you were not ex-pecting to find me, nor anyone else, for that matter. and you felt a certain freedom, a certain latitude, as if you were not trespassing, for this structure it seems, belongs to no one and to everyone. The door is slightly ajar. The structure is crumbling, the wood rotting, slats missing, so you could see inside. light seeps through these slits, through the door, as if beckoning you, urging you to peak around the corner. Perhaps. so i will leave you to enter as you might have done, on your own, seemingly at the end, or at one moment of ruination, which ironically is your beginning. but first please indulge me and allow me to ask you before you enter:

why did you come here? and what did you expect to find? Certainly i cannot believe any sort of common claim that you were merely pass-ing by. This place has long since been abandoned. left. all signs have been removed, traces effaced, and it remains - like the secret hidden within the flying carpet - that which one passes by unknowingly. Tell me: do you think these ruins proclaim this building was beautiful?iii or do you find that time and life debase? That life wears? That with abandonment comes age, deterioration and weariness, as if the de-cay of the body?iv do you find here a silence of emptiness? or do you agree that pleasure is silent, just like the state of happiness?v is there necessity in amusement as there is in science?

do these paintings, these found sounds, these stilled frames within which the only presence becomes a passing of fading light, pos-sess, like the built structure, a clarity of emptiness?vi Can cruelty and compassion find a place here or is it, as an abandoned life lead in solitude, where they seemingly have none? are youth and strength criteria for beauty?

we inhabit the skeletal roller coasters, desiccated waterslides, stilled ferris wheels, slowed train tracks, and baby flyers poised for flight in Mie olises The exquisiTe CaPabiliTies of The flyiNg CarPeT as we might inhabit the days of abandonment. here are the places from whom one, or many, have removed their thoughts, their

desires, and transferred them elsewhere. objects turn to stone. veins contract. skin freezes. one becomes cold herevii. Neglect, faded col-ours, faded glory, manifest themselves as if unkempt, unwashed hair, an unwashed body. Movement has ceased. Presence, left behind, is happened upon. rendered, built, it is constructed as much through the layering of thick planes of creamy browns, blacks, grays, pinks and reds, as through the assembly of worn slats of wood, as through series of temporal frames. in these practical signs of abandonment there is no rancor, no rage, only the precarious-state-of-things, found in-the-midst.

set with oblique, often vertiginous viewpoints, against a luminous, infinite graying light, these scenes invite the spectator in, as if a novel, in which the narrator and audience act as characters, and the form of the text is an invitation to the readerviii. foreshortened spaces expand and contract, objects shift from foreground to background as we move around the room. we see these structures from above or below, set against an aging sky tinged with pink, juxtaposed against diamond-shaped patterns of the nineteenth-century harlequin. They extend beyond the painted frame of the canvas, beyond the walls of the gallery. floating, hanging above any apparent foundation, they leave us unmoored, ungrounded, out-of-place.

if, as walter benjamin wrote in 1928, allegories are in the realm of thoughts, what ruins are in the realm of things, then where are we exactly within the work of olise? do such spaces inhabit an interior world, much like the exterior built world in which it is seen?ix if one speaks of the architecture of the novel as its plots and characters, among whom the audience is one, can one similarly speak of an architecture of abandonment, in which suspended airplanes, frozen waterways, skeletal tracks, faded magic carpets belie emptiness with presence, elude absence through construction?

while such fantastic spaces may allude to olises training as an ar-chitect, the sensual tactility, physicality, presentness effused through the thickness of the paint and the complexity of technique belie the

TiNa diCarlo

ALLEgORIES Of RUINS AND THE INEVITAbLEUTOPIAS Of AbANDONmENT

i

realities of place as if the ruminations of our mind. her strokes, her constructions, her pretensions are not those of the impenetrable page. she, as if a narrator abandoned, likes the light, prefers the air between the slats, infuses hope through tinges of glowing pinks, reds. her stories - those that she tells, those that she urges us to continue - are still full of breezes, of filtered rays where dust dancesx. she infuses things with life, the start of joy, the stab of pain, an intense pleasure of the potential intensity of life. as if a child who plays with waste scraps and turns them into treasures, xi the spec-tator begins, where the artist and others have left off, layering one story atop another.

as part of a younger generation of radicantxii artists, olises work is rooted as much to her danish origins as it is to a contemporary spa-tiotemporal, multi-cultural landscape. The crumbling ships, watch towers, sheds, and factories exhibited in The dreadful souNd wheN The fish weNT fishiNg, and the stills of iNTo The Pyra-Mid, not only recall the bleakness and blue light of the arctic edges, but like her current work, they also speak to hidden, socio-political landscapes, contemporary dystopias of aging and atomisation. des-olation comes from the middle of society, not from its edges. it will only grow in the long run. Thus one will live with intolerable tension and intolerable indifference. all of this is predictable, is essentially already present. Time merely exerts a retardant effect.xiii oscillat-ing between painting, sculpture, photography, and video, her work eschews antiquated categories of modernist autonomies. it builds on accumulation. histories, hidden, partially lost and forgotten, are sub-sumed, retold, recast as fiction, mythologized as allegories, projected into the future, as the inevitable utopias of abandonment.

i This essay is based on and developed from a talk of the same name, given

with Mie olise for The dreadful sound when the fish went fishing,

duve gallery, berlin, 1 May - 12 June 2009.iv The form of this text was inspired by Mohsin hamids The reluctant

fundamentalist (boston and New york: houghton Mifflin), 2007. iv hamid, p. 144. iv Michel houllebecq, Possibility of an island (london: wei-

denfeld & Nicholson, a division of orion books), 2005, p. 44. The passage

references houllebecqs protagonist for whom the blows of age .. multiply

rapidly, leading to the total degradation of the body. see pp. 40-1. iv houllebecq, p. 7. iv houllebecq, p. 32. iv elana ferrante, days of abandon-

ment (trans. ann goldstein), rome: europa editions, 2005, first printed

2002, iv a conversation with Mohsin hamid, in The reluctant fundamental-

ist, p. 195. iv ibid. ferrante, p. 21. iv esther leslier, walter benjamin, london:

reaktion books, 2007, p. 17. iv Nicolas bourriaud, radicant, New york:

lukas & sternberg, 2009. iv botho strau, caption from Thomas demand,

Nationale galerie, Neue Nationalgalerie, berlin, 18 september 2009 - 17

January 2010.

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forandres tingene af min tilstedevrelse her? Jeg ved, at du ikke forventede at finde mig eller nogen anden for den sags skyld. og du flte en srlig frihed, et srligt spillerum, som tillod, at du trdte over en bestemt grnse, for denne struktur tilhrer tilsyneladende ingen og alle p samme tid. dren str en anelse p klem. Struktu-ren synker sammen, tret er ved at rdne og listen mangler, s du kan se ind. lyset slipper gennem disse bninger, gennem dren, og det drager dig og fr dig til at kigge rundt om hjrnet. Mske. S jeg vil lade dig g ind, sdan som du ville have gjort det p egen hnd, stende foran slutningen og altings forfald, som ironisk nok ogs er din begyndelse. Men fr du gr ind, m du bre over med mig og tillade mig at stille dig flgende sprgsml: hvorfor kom du her? og hvad forventede du at mde? Selvflgelig godtager jeg ikke en drlig forklaring om, at du bare kom tilfldigt forbi. dette sted har lnge vret forladt. ligget de hen. alle tegn og spor er blevet udslettet, og det, der er tilbage som gden, der holder det flyvende tppe i luften er det, som man passerer uden at lgge mrke til det. Sig mig: Mener du, at disse ruiner giver anelser om, at denne bygning var smuk engang? eller mener du, at tid og liv frer til en egentlig forringelse? at livet bruger og bruges? at bortrejse frer til aldring, forringelse og kedsomhed, ligesom nr en krop gr i forfald? Synes du, at stedet her emmer af en tom stilhed? eller mener du ogs, at stilheden rummer en sknhed, der kan minde om lykke? er der den samme ndvendighed i fornjelse og tidsfordriv som i videnskab?

rummer disse malerier, disse fundne lyde, disse tavse rammer in-den for hvilke det dmpede lys er det eneste hndgribelige, en tomhedens klarhed, der minder om den konstruerede struktur? Kan ondskab og medmenneskelighed komme til udtryk her, eller er disse egenskaber ikke tilstede som i et forladt og ensomt liv? er ungdom og styrke forudstninger for sknhed? vi bor i de skeletagtige forlystelser, de udtrrede vandrutsjebaner, de tavse pariserhjul, de slve togskinner og de sm svvende babyflyvere i Mie olises the exqUiSite CapabilitieS of the flYiNg Carpet p samme mde, som vi bebor dagene, hvor vi forlader tingene og stederne omkring os. her er stederne, hvorfra en eller mange har taget deres tanker, deres inderste nsker for at fre dem andre steder hen. genstande bliver som forstenede. blodrer trkker sig sammen. huden fryser og man bliver ramt af kulden her. forsmmelse, falmede farver, visnet storhed viser sig tydeligt, som var der tale om uvasket hr eller en uvasket krop. bevgelser er blevet bremset. tilstedevrelse fortoner sig i en fjern fortid. gengivet, bygget og konstrueret lige s meget gennem de forskellige lag og planer af lyst brunt, sorte, gr, lyserde og rde farver som gennem bunken af brugte trlister og serier af tidsms-sige rammer. i disse konkrete tegn p svigt og bortrejse er der in-gen bitterhed eller had, ingen vrede, kun tingenes vaklen og usikre tilstand, midt i det hele.

tiNa diCarlo

iscenesat med skve og nsten svimlende synsvinkler og placeret foran et strlende, uendeligt grt lys, inviterer disse scenarier besku-eren inden for, som i en roman hvor fortller og publikum opfrer sig som karakterer, og tekstens form er en invitation til lseren. per-spektivisk forkortede rum udvider sig og trkker sig sammen, gen-stande skifter position fra forgrund til baggrund, mens vi bevger os rundt i rummet. vi betragter disse strukturer fra oven eller nedefra og ser, hvordan de trder frem p baggrund af en gammel himmel med toner af lyserdt, som er sat op imod diamantformede mnstre og tern fra 1800-tallets harlequin. de rkker ud over maleriets bemalede ramme, ud over galleriets vgge. Svvende hnger de over ethvert tnkeligt fundament; de efterlader os uden grund under fdderne og med en flelse af fremmedgjorthed.

hvis, som Walter benjamin skrev i 1928, allegorier tilhrer tan-kens verden p samme mde som ruiner tilhrer tingenes verden, hvor befinder vi os s, nr vi trder ind i olises kunstneriske uni-vers? trnger disse rum sig p i en indre verden, som minder meget om den ydre verden, hvor man ser dem? hvis man taler om romanens arkitektur som vrende dens plot og karakterer, heri-blandt ogs publikum, kan man s p tilsvarende mde tale om det forladte steds arkitektur, hvor man mder fritsvvende fly, tilfrosne vandrutsjebaner, skeletagtige skinner og falmede flyvende tpper, der tilfrer tomheden en konkret fylde og lader fravret modsvares af konstruktion?

de fantastiske rum er muligvis produkter af olises erfaringer som arkitekt. det tykke lag maling og den varierede teknik, udtrykker en sanselig og fysisk taktilitet og en konkret tilstedevrelse, som modsvarer stedets virkeligheder, der str som aftryk af sindets tan-ker. hendes penselstrg, hendes konstruktioner, hendes fordringer tilhrer ikke den uigennemtrngelige side i en bog. hun fremstr som en forladt fortller med forkrlighed for lyset og luften mel-lem listerne, og hun tilfrer hb ved at bruge toner af brndende rdt og lyserdt. hendes fortllinger, som hun opfordrer os til at fortstte er stadig fulde af frisk luft, af filtrerede strler, hvori stvet danser. hun giver liv til tingene, gldens begyndelse, smertens dybde, en intens sknhed, der omfatter livets potentielle intensitet. ligesom et barn, der leger med gamle udklip og forvandler dem til vidunderlige skatte, begynder beskueren at lgge n historie oven p en anden, der hvor kunstneren og andre er stoppet.

Som en del af en yngre generation af skaldt radicante kunstnere (bourriaud), har olises kunst rdder i svel hendes danske bag-grund som i samtidens rumlig-tidslige, multikulturelle landskab. de smuldrende skibe, vagttrne, skure og fabrikker, som er udstillet i the dreadfUl SoUNd WheN the fiSh WeNt fiShiNg og gengivet i still-billederne fra iNto the pYraMid, giver ikke kun mindelser om den gustne tristhed og det bl lys i de arktiske egne, men henviser ligesom hendes aktuelle vrker ogs til skjulte socio-politiske landskaber og dystopiske visioner af aldring og atomi-sering i samtiden. trsteslsheden kommer fra samfundets midte, ikke fra dets periferi. den vil kun blive strre med tiden. Man vil sledes komme til at leve med en ulidelig spnding og en ulidelig indifference. alt dette er forudsigeligt og er allerede et vilkr. Med tiden viser der sig kun en forsinket effekt. ved at veksle mellem maleri, skulptur, fotografi og video undgr olise at falde inden for de antikverede modernistiske kategorier og ider om autonomi. hendes vrker baserer sig snarere p ophobning. Skjulte og n-sten glemte fortllinger bliver genfortalt og relanceret som fiktion, mytologiseret som allegorier, kastet ind i fremtiden som de forladte steders uundgelige utopier.

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if not here in white box, then where in the world should i

be able to face leveled to the ground ?

the memories ooze like springs from groundwater, how

delightful! Natural? original? Memories, distorted images

that i have forgotten, or not yet remembered, which is not

the same. Maybe some of them are fake. That phenomenon

exists: fake memories. Memory illusions. distorted images

of what is real a little like computerized photographs, i

think. The memories ooze from rifts. i place them in order,

chronologically, source-critically.

white box face leveled to the ground.

from Mette Moestrups poetry collection leveled to the ground2009. Copyright Mette Moestrup and gyldendal.

hvis ikke her i hvid boks, hvor i alverden skulle jeg s kunne se jvnet med jorden i jnene? Minderne pibler som ... kilder fra grundvand, hvor lifligt! Naturligt? oprindeligt? Minder, forvrngninger som jeg har glemt eller ikke fr har husket, hvilket ikke er det sam-me. Mske er nogle af dem falske. det fnomen findes: falske erindringer. hukommelsesillusioner. forvrngninger af det faktiske lidt ligesom computermanipulerede fotos, tnker jeg. Minderne pibler, lkker fra sprkker. Jeg ordner dem kronologisk, kildekritisk.

hvid boks se jvnet med jorden i jnene.

fra Mette Moestrups digtsamling Jvnet med Jorden, 2009. Copyright Mette Moestrup og gyldendal

THE VISUAL RE-INTERPRETATION Of

LOST PARADISE by mIE OLISE

Mie oliSe & deN viSUelle geNfortolKNiNg af

det tabte paradiS

04

oliver oresT TsChirKy

THE VISUAL RE-INTERPRETATIONOf LOST PARADISE by mIE OLISE

whaT does a flyiNg CarPeT, CreaTed by Mie olise, have To do wiTh The losT Paradise of eve aNd adaM?

The exquisite solo exhibition by Mie olise at the sNyK skive Ny Mu-seum is made up of six enormous paintings, a film projection, and an impressive sculptural structure. The paintings are figurative, painted with white and black, a lot of pastel colors and wild gestures. some paint was dripping down the canvas during the process of paint-ing. with a slight view from below, the paintings show six different amusement park attractions called buTTerfly, sPider, baby flyer, waTergaMe, JeT sTar 2 and flyiNg CarPeT. The contemplator of the canvases is looking up to the attractions like a child in the amusement park who stands next to the machines and dreams about riding them. at first glance, the paintings seem joyous because of the colors and the movement in them, but then the spectator realizes that the attractions are unfilled; nobody is sitting in the flying cabins.

The video confirms these impressions; the whole fairground is empty and abandoned. The attractions are defunct and the vegetation has taken over much of the buildings. like on a ghost ride the camera follows the tracks, rails, and constructions of the empty park. as a result, uneasy and romantic feelings come up at the same time. Now the construction in the exhibition becomes comprehensible. a kind of wooden and partially painted scaffold or horizontal ladder structure with tree layers is suspending from the ceiling and fills the complete room of the museum. because of a hanger and a counter-weight in form of a bag filled with coffee beans that has exactly the same heaviness as the construction, the whole trestle is floating in the air. The framework looks like the technical supporting structure of a machine or the rear side of provisional and fake building in an amusement park. it may be interpreted as the leftover of an aban-doned leisure park, the relict of a broken dream, or the symbol of a lost paradise.

They, looking back, all the eastern side beheldof Paradise, so late their happy seat,waved over by that flaming brand; the gatewith dreadful faces thronged, and fiery arms:some natural tears they dropt, but wiped them soon;The world was all before them, where to chooseTheir place of rest, and Providence their guide:They, hand in hand, with wandering steps and slow,

Through eden took their solitary way.

John Milton, Paradise lost, end of book xii, 1667

oliver oresT TsChirKy

Mie olise takes as subject for the exhibition the surreal atmosphere of an abandoned amusement park with defunctive fairground attractions in the middle of nowhere that is overgrown by nature. it looks like an industrial ruin in the forest, quite a romantic and melancholic place. The smart compositions of her paintings have a subtle yet suspenseful effect on the viewer. looking at the images more closely, one discov-ers that they feature bright skies which are however grey; the colorful stripes in the sky of the buTTerfly-painting is not a rainbow but in fact the tent roof of the machine. all the fun devices become threaten-ing because the cabins are hovering above the observer. some of the machines even seem to be huge and dangerous animals. The butter-flies are more like carnivorous vampire bats with blinking eyes that are flying attacks. and the sPider with its long legs appears like a gi-ant tarantula searching for food. The attractions appear to be built as fragile and weak structures and it seems only a question of time until they break and fall on the observer. harsh contrasts between light and shadow reinforce the effect of these observations.

by regarding her new works, Mie olise states: its quite a strange experience to wander along the empty path of the abandoned amuse-ment park, once filled with happy people and now a contrast to the fun once going on. This makes me remember my own childhood and provokes melancholic feelings. she uses the abandoned amuse-ment park and its attractions as an artistic metaphor for the lost par-adise. by painting, filming and constructing, she literally re-installed the amusement park and brought it back to life. in other words, she visually re-interpreted the complex story of vanished dreams and glo-rious hope. The smell of the coffee beans has the same effect as the fresh pastries in the episode of the madeleines by the french writer Marcel Proust; the aroma of the small scalloped-shaped tea cake can recall memories of the happy childhood. Together with the visual impressions and provoked allusions we remember the fortunate mo-ments and wish to be back in the irrevocable lightness and lost easi-ness of our youth. because of our dreams and wishes as well as our imagination, Mie olise as an artist has the ability to make a carpet fly: she evokes the belief that a wonderful dream about paradise on earth can come true.

The artworks by Mie olise consist of the great themes of human existence, like paradise as a lost utopia, longing for utopia as a ro-mantic myth, the myth of the happy childhood as a lost paradise, fear and wishful thinking, lost and broken dreams, life as a joy and a tragedy, and the endless search for a new and better world. Thereby the artist works like a court jester; she is able to tell the serious truth with lightness and fun. in this sense, her paintings have a mirroring function for the society because they show our strengths and weak-nesses. her work is sentimental, melancholic, poetic and a little bit sarcastic. she makes visible our ambivalent feelings, psychological dilemmas and inevitable contradictions in our existence. The decay-ing structures and abandoned settlements are a narrative statement for lost memories and a symbol for the up and down in life. The end-less tracks of the rollercoaster are a repetitive structure and there-fore an image for endless repetition. with her unique evocative, im-agery and visual language, Mie olise touches ones heart and dreams but also achieves to get the attention of the profound observer.

The spectator may become aware that in the end there is only one conclusion: to follow the philosophical postulate of the 17th century that the existing world is the best of all possible worlds. our world that we are living in is our paradise that we can create and dream about. yes, it is very simple.

by the way, John Milton, who wrote the world famous epic Paradise lost, also failed several times with his dreams and ideas. first, he needed to sell the right of his famous poem that was published in 1667; later on, the sequel Paradise regained was not successful at all.

Mie oliSe & deN viSUelle geNfortolKNiNg af det tabte paradiS

hvad er forbiNdelSeN MelleM et flYveNde tppe, SKabt af Mie oliSe, og adaM og evaS tabte paradiS?

den udsgte solo-udstilling med Mie olise p SNYK Skive Ny Kunstmuseum, bestr af seks meget store malerier, en filmprojek-tion og en imponerende skulpturel struktur. Malerierne er figurative, malet i hvidt og sort, med en masse pastelfarver og med en vild gestik. Noget af malingen er lbet ned ad lrredet, mens bille-derne er blevet malet. Set lidt nedefra viser malerierne seks forskel-lige tivoliattraktioner under overskrifterne bUtterflY, Spider, babY flYer, WatergaMe, Jet Star 2 og flYiNg Carpet. beskueren af vrkerne ser op p attraktionerne som et barn. ved frste je-kast forekommer malerierne at vre fyldt med glde, ikke mindst p grund af farverne og bevgelserne i dem, men snart opdager beskueren, at attraktionerne er tomme; der sidder ikke nogen i de flyvende kabiner.

videoen bekrfter disse indtryk; hele tivoliet er tomt og forladt. at-traktionerne synes dde, og vegetationen har overtaget mange af konstruktionerne. Som i et spgelsestog flger kameraet skinnerne, sporene og konstruktionerne i den tomme park. dette frer til, at underlige og romantiske flelser opstr p samme tid. pludselig bliver udstillingens konstruktioner tilgngelige og forstelige. et tr-agtigt og halvt malet stillads eller horisontalt en stigestruktur i tre lag hnger frit under loftet og fylder hele rummet i museet. ophngt i en krog i loftet og balanceret af en modvgt i form af en sk fyldt med kaffebnner, som har prcis den samme vgt som selve konstruktionen, svver hele strukturen i luften. vrkets ramme ligner en teknisk stttende struktur fra en maskine eller bagsiden af en interimistisk og hul bygning i en forlystelsespark. det kan alt sam-men fortolkes som rester fra et forladt tivoli, efterbilleder fra en forlist drm eller symboler p et tabt paradis.

they, looking back, all the eastern side beheldof paradise, so late their happy seat,Waved over by that flaming brand; the gateWith dreadful faces thronged, and fiery arms:Some natural tears they dropt, but wiped them soon;the world was all before them, where to choosetheir place of rest, and providence their guide:they, hand in hand, with wandering steps and slow,through eden took their solitary way.

John Milton, paradise lost, end of book xii, 1667

oliver oreSt tSChirKY

Som hovedtema for udstillingen tager Mie olise den surrealistiske stemning, som man kender fra forladte forlystelsesparker med ubru-gelige attraktioner, placeret i ingenmandsland og dkket af natu-rens vegetation. de ligner mest af alt en industriel ruin i skoven, et bde romantisk og melankolsk sted. Maleriernes dristige komposi-tioner giver beskueren en oplevelse af sart sknhed og uvished p n og samme tid. Kigger man nrmere p billederne, opdager man, at de rummer lyse himmelrum, som dog er malet med grt; de farverige striber p himlen i bUtterflY-maleriet er ikke en regnbue, men derimod maskinens teltdug. alle de sjove effekter bliver fare-truende og uhyggelige, fordi kabinerne er hvet over beskuerens niveau. Nogle af maskinerne ligner endda store og farlige dyr. Sommerfuglene ligner mere kddende vampyr-flagermus med blinkende jne, som er klar til angreb i luften. og edderkoppen med dens lange ben ligner snarere en gigantisk tarantel, som leder efter mad. attraktionerne er tilsyneladende bygget som porse og svage strukturer, og det er umiddelbart kun et sprgsml om tid, fr de bryder sammen og falder ned over beskueren. Strke kontra-ster mellem lys og skygge underbygger blot disse observationer og oplevelser.

i forbindelse med sine nye vrker har Mie olise sagt flgende: det er en mrkelig og forunderlig oplevelse at vandre ad de tomme stier i en forladt forlystelsespark, som engang har vret fyldt med glade mennesker, og som nu i sin dd er en kontrast til al det liv, som har vret. det fr mig til at mindes min egen barndom og frembringer en rkke melankolske flelser.

hun bruger sledes den forladte forlystelsespark og dens attraktio-ner som en kunstnerisk metafor for det tabte paradis. ved at male, filme og konstruere geninstallerer og genopliver hun bogstaveligt talt forlystelsesparken. hun laver med andre ord en visuel gen-fortolkning af den komplekse historie om forsvundne drmme og glorvrdige hb. duften af kaffebnnerne har den samme effekt som de friske kager i Madeleine-familien hos den franske forfat-ter Marcel proust; duften fra den lille musling-formede kage kan frembringe minder fra den lykkelige barndom. Sammen med de visuelle indtryk og de tydelige allusioner kommer vi til at huske livets lykkelige jeblikke og nsker i den forbindelse at vre tilbage i den uigenkaldelige stemning af lethed og uskyld, der hrer barn-dommen og ungdommen til. fordi vi alle rummer drmme, nsker

og fantasier, er Mie olise som kunstner i stand til at f et tppe til at flyve: hun vkker troen p, at en vidunderlig drm om paradis p jord kan blive til virkelighed.

Mie olises kunstvrker kredser om store eksistentielle temaer s-som paradiset som et tabt utopia, lngslen efter utopia som en romantisk myte, myten om den lykkelige barndom som et tabt pa-radis, frygt og nsketnkning, tabte og forliste drmme, livet som en gave og som en tragedie, og den endelse strben efter en ny og bedre verden. p den mde optrder kunstneren som hofnar; hun er i stand til at fortlle den dybe sandhed med lethed og glde. i den forstand har hendes vrker en spejlende funktion i forhold til samfundet, for i vrkerne ser vi vores styrker og vores svagheder. hendes vrker er sentimentale, melankolske, poetiske og en anelse sarkastiske. hun synliggr vores livs ambivalente flel- ser, psykologiske dilemmaer og uundgelige modstninger. de for-faldne strukturer og forladte bebyggelser skal lses som narrative udtryk for svundne minder og symboler p livets lyse og mrke sider. de uendeligt lange skinner p rutsjebanen er en slags struk-turel repetition og derfor et billede p en uendelig gentagelse. Med sit unikke, suggestive billedsprog formr Mie olise at rre ens hjerte og ens drmme, men hun appellerer ogs til den tlmodige betragter.

til slut bliver beskueren muligvis opmrksom p, at der kun er n konklusion: at flge det filosofiske diktum fra 1600-tallet, der hvder, at den eksisterende verden er den bedste af alle mulige verdener. den verden, vi lever i, er det paradis, vi selv kan skabe og drmme om. Ja, det er faktisk ganske enkelt.

i vrigt kom John Milton, som skrev det bermte episke vrk para-dise lost, ogs til kort over for sine drmme og sine ider. i frste omgang var han ndsaget til at slge rettighederne til sit bermte digt, som blev publiceret i 1667; senere viste det sig, at fortsttel-sen paradise regained (det genfundne paradis) ikke var nogen succes overhovedet.

VIDEOSvideoer

iNTo The PyraMidgiviNg baCK sPeaKer souNd ballad7.13 MiN

iNTo The PyraMidiNhabiTiNg abaNdoNed sPaCes5.48 MiN

MelaNCholiC Noise8 MM filM7.22 MiN

05

Melancholic noise. 8 MM. filM, 7.22 Min.

en falsk erindring er en hukommelsesillusion, en erindring om en begivenhed, der ikke har fundet sted eller en forvrngning af en faktisk oplevelse. falske erindringer kan virke meget levende, prcis ligesom normale erindringer, og er nemme at inducere. ofte vil forsgsper-soner i psykologiske forsg, i hvem en falsk erindring med vilje er blevet induceret, ngte at tro, at mindet er falsk, og vil have lige s stor tillid til dette, som til njagtige rigtige minder.

falske erindringer kan skabes p forskellige mder, og den prcise mekanisme er kontroversiel. forskningsresultater indikerer at nogle af disse erindringer formes ved repetition af en begivenhed, som personen ikke er sikker p er sket: efter at have tnkt over og visualiseret den gentagne gange, kan personen begynde at huske den, som om den faktisk fundet sted. Nr personen bedes om at genkalde begi-venheden, vil hun gre dette overbevist om gtheden, men det er blot de tidligere visualiseringer, der gr erindringen bekendt.

false memory is an illusion of the mind, a memory of an event that did not happen or a distortion of an actual experience. false memo-ries can seem very alive, exactly like normal memories, and they are easy to induce. often guinea pigs in psychological experiments, on whom a fake memory has been induced, will afterwards refuse to believe that the memory is fake, and will place full faith in this falsity as though it made up part of real and accurate memories.

false memories can be created in different ways, and the most accurate method is controversial. scientific results indicate that some of these memories are formed by a repetition of an event that the person is not positive about actually taking place: after having thought about and visualized it repeatedly, the person can start to remember it as though it actually did happen. when the person is asked to recall the event, they will do this pursued by the fact that it is real, but in reality it is just the former visualizations that make the memories seem familiar.

into the pyraMid 2008. inhabiting abandoned spaces.Video / stills. 5.48 Min.

Melancholic noise 2008. 8 MM filM. 7.22 Min.

into the pyraMid - giVing back speaker sound balladVideo. 7.13 Min.

foran lenin spilleds, fra hjtalere og bilbatteri, et goodiepal komponeret musikstykke, hjt for den forladte by. Musikstykket var oprindeligt skabt til den frste film fra Mie olises frste rejse til pyramidebyen i 2007. ingen kunstigt skabt lyd er blevet hrt i byen i mere end 10 r.

lyd Performance i Pyramidebyen ved den arktiske Cirkel p den symmestriske plads foran lenin statuen. august 2008.

from car-battery and loudspeakers a goodiepal-composed tune was played aloud for the abandoned city in front of lenin. The tune was originally created for the first film from olises first trip to the Pyramid City, 2007. No artificial sound has been heard in the city for more than 10 years.

sound performance in the pyramid city, by the arctic circle, at the symmetric town sq in front of lenin statue. august 2008.

STRUCTUREKoNStrUKtioN

180 kg wOOD180 kg COffEE + STONE

180 Kg tr180 Kg Kaffe + SteN

06

inVestigations in Modelfrom workshop at skowhegan, 2009.

undersgelser i MOdel fra vrksted i Skowhegan, 2009.

collapsing / rising, 2009180 kg wood + 180 kg bag of coffee and stone dimensions: same as windowband in roof x 3 (41 4.1x20 4.1x18 0.5)

COllaPsing / rising, 2009180 kg tr + 180 kg POse Med kaffe Og stendimensioner: de samme som vinduesbndet i tag x 3 (12,6x6,2x5,5 m)

07INTERVIEwiNtervieW

aNabelle de gersigNy

INTERVIEw loNdoN / CoPeNhageN oCTober 2009

where does your name come from? olise i made up myself as a child, as my dads name is ole and my mums name is lise. Mie is a common name in denmark.

how did you become an artist? i guess it is kind of a traditional combination of being a child, who was always drawing and coming up with stories, and being a maker. i always wanted to fix things, and if what i wanted did not exist or was out of reach, i would make it myself.

do you come from an artistic background? Not really. but my background is the source of my art anyway. My dad was a boatbuilder and we sailed for 10 years in the scandina-vian seas. i used to walk around huge docked-up industrial ships by myself at every harbour in denmark, sweden and Norway. at one point we had a sawmill, which we abandoned, as we went bankrupt.

where did you grow up? i grew up on the island of Mors in denmark. actually the first few years of my life were spent living in a police-station, where the jails were all empty, and they became the backdrop of many of my doll plays. i really liked the very pretty pink carpet in the staircase to the jails. The island of Mors, is also the home of the writer axel sande-mose, whose story i am going to work with in my next project.

aNabelle de gersigNyMie olise

I want to start with the process of making art for you your work has a very tactile aesthetic, something rough, touch-able you arent precious with your media. The detail is in the accumulation of media, in the elaborate imaginings that inject the work with life. The climax is a culmination of a new world from an abandoned one, with the many elements playing against each other in one space.

are your different media different worlds for you or do you simulta-neously work on separate aspects of one project/installation? i think about my projects as simultaneous parallel systems. but i use myself very differently in the different processes. in the studio, i am a painter, and work the paintings up over time. There is the conceptual idea behind the work, but as a painting develops it be-comes alive and in that way, has its own life and decisions. it takes over for a long while, until i step back and take distance and start to analyze and control the process again i continue balancing those two processes, until i think the work is finished.

My videos on the other hand, are planned from beginning to end, and the nature of film, together with the fact that i am not a trained filmmaker, turns this process into something collaborative. i have photographers, editors and sound experts to help me, and it becomes very much a process of expressing and understanding the images and feelings that i would like to evoke. The process is much more complex and i really enjoy managing all these different aspects of filmmaking because i am so often alone in the studio.

building large scale constructions only happens in the very last minute of installation, on-site, in the exhibition space and you never really know the end of the story until you stand there underneath the structure. i build small models of the space and based on my analyses of the specific space, i discuss the architectural problems or features in these models. in the end, it becomes clear that there is one idea/model that is better than the others, and problem-solving starts: materials, how-to and assistants/experts come into the project and we build it bit by bit.

how does a day in the studio unfold? a day in the studio starts a little late. i normally start with a break. i always have many things to do, and i start with the fun things first. sometimes i think that my biggest motivation is laziness, and i have to trick myself into working. yet, i think that the studio-days are the main reason that i am an artist. i love being in the studio. so i read, drink coffee and at a certain point something already on the canvas is not good enough and i have to go and work on it. as i am working in so many different geographic places, and it is always not really my place, i need some things there that are constant. i have a suitcase with inspirational clippings, my brushes always travel with me and my chair and blanket for relaxing are also very important. The journey back and forward to the canvas is a route i have known now for 20 years, so that is also a place i really relate to and feel comfortable in. i climb out on the roof outside the window to look at the paintings and get new perspectives.

at the end of the day, i have to do all the boring things, build new canvasses, clean brushes, carry heavy materials - all the things i postponed.

when you paint there is a fluid series of instinctive events that culminate in the paintings you have said that the action of paint-ing is a bit like the action of building for you of layering strokes of wood/paint. would you say that the structures are the sketches for your paintings or the paintings the sketches for your structures or neither? when i build my paintings, i am thinking about them very much like paintings, the image between the four pieces of wood on the canvas. i am thinking about contrasts in colour, strokes, structures, layers and lines within the frame. and then there is a thing i cant really explain that is the gut-feeling of the painting. Paintings - in my view - can not only be conceptual, because the brushstrokes and the layers of paint will always be in the way, to me that is the greatest thing about painting!

in the structures i am doing a bit of the same, just in the space; but on the other hand, the gut-feeling is often conquered by the concep-tual. Not that they are opposed, because i feel that i always work poetically with my concepts. i cant explain my concepts in one sen-

tence, it is more complex, both the structures, films and especially the paintings; and that is why i need to make them visually!They are not really sketches for each other, but two different ways of approaching the same narrative.

similarly, are the paintings an extension of the sculpture or the sculptures and extension of the paintings or neither? Talking into particular consideration for example your exhibition at the barbara davis gallery where the painting and structure seemed to be linked with steps. as i work with projects and a narrative idea of a story, i feel that the different medias definitely speak about it differently and from different angles, at the same time they overlap, because they are a product of me and my eternal discussion. The different medias can do different things, and that is why i want to work in them. in this exhibition the body stands under 180 kg wood, that is hanging from a hook with a bag of 180 kg coffee. how the body relates to this weight and smell is important, and it interacts with the body on a different level than the paintings do.

is each media a separate line of enquiry or are they reliant on each other? i think they could each stand alone and tell a part of the story and when they come together, they unfold sometimes overlapping and other times with a space between them. i have no intention of telling a full and finished story, so it is not because i want to tell the whole and true story through the use of different medias, maybe i want to contradict myself or open up for more interpretations.

you often use the twist of a bright sharp colour in your paintings why is that? in my mind, i have true and untrue colours (and sounds and songs), which i have had since i was a little child. Things i like by heart and things i dont like. and when i have used all my favourite colours (or sounds or materials), i just need to ruin it a bit. i dont love the bright colours, but somehow i think they bring a dynamism and contrast to the paintings and to the story about the abandon-ment. like small lights in the darkness. Modern things in the old and worn-out.

Can you tell me a little more about the recurrence of boats in the paintings? The boats are the most literal image in my works in that this is what i have seen. it is my language, i just know it. i cant imagine abandoning this visual image, as for me this subject matter is a language i feel i can use most fluently, and capture it. in that way it also becomes the least literal because it can mean so many differ-ent things.

you create maquettes of your structures are these to ensure they are structurally sound or are they sketches? do you ever create a maquette that never becomes an installation? They discuss the space and my ideas. and from those, i can discuss and talk with other people, so they know what i have in my mind. They are working conceptually with the space, and not so much as constructions in an engineering sense. when i did my architectural degree, i often pretended that gravity didnt exist. That is a concern that comes after the idea! a lot of the maquettes never go up as they were only investigations.

where do you find the materials for your installations? when i did the reclaimed wood installations it was always a strug-gle, and i have relied a lot on luck. renting a car and driving around to find a house being torn down. i was lucky with that in london and houston, Texas. with the structure CollaPsiNg / risiNg at sNyK skive Ny Kunstmuseum i have used new wood. i wanted to copy the ceiling of the museum room and old wood would pose unnecessary questions. with the pink and dark purple colours the narrative about the amusement park has evoked quite a new language, but the deconstructivist lines are recognizable from the former structures, it talks about the collapsing roof or the growing of the roof.

in recycling materials, are you interested in the environmental is-sues surrounding the places you use as the source for your work? yes i am - not so much as a source of materials as a concern for the accumulation of things and the layers of materials in the city. reusing the places that are abandoned, but i am not suggesting how, i am focusing on these empty shells as something valuable and important, to use somehow.

in what ways would you like your work to alter the viewers percep-tion of the world we live in? i am primarily working in a psychological sphere combined with spatial perception: shared and personal memory, loss of time and childhood and poetic consideration of what once was, utopias and how ideas fell to the ground. i hope to evoke both a melancholic and romantic sense.

i believe that art can hit the individual person in the stomach in a very special way. That art is the only thing in the world that does not have to have a linear road to a specific result - understood by the brain immediately. it might take a while, it might take years, and sometimes it doesnt happen. but i believe that art has the possibil-ity to make you wonder, ask questions, induce a gut-feeling or just remember something you forgot, or come up with a new thought about life.

i am interested in freuds studies of the uncanny (das unheimliche/unhomely), which is a term often being used when something dead shows signs of being alive, for example - if a doll suddenly blinks its eyes. That feeling of being afraid of the dead thing, expecting it to somehow become an unpleasant surprise, and the curiosity of exploring new territory to me is the step backwards and the step forward that can hold you in a psychological limbo that i find interesting and nerve-racking when i approach a new abandoned structure.

at the same time my interest in abandoned places and societies also carries a will to point out layers of history and where we are adding layers all the time. in a way i would like us to stand still for a second and rethink the speed and accumulation of our capitalistic society. why didnt this work? what can we learn from it? how can this become of new use and create new foundations for ideas and thoughts? i also have a problem with how age is seen in our society, old people are not respected, the young dont want to learn from them. i have the deepest respect for my grandparents, they lived through the 2nd world war with very little trying to give us everything they could. in our society old is uncool and people have a crisis when they turn 30!

what do you call your installations structures, sculptures or something else? i call them mostly constructions (sometimes structures) because for me everything is a construction or a system. The way society works and the way an artist works. The layers and timelines of the world.

as a viewer, we are kept out of your installations often we can look in but we cannot explore the world inside is there any par-ticular reason for this? would you say that inside/outside is a motif in your work? sometimes there is a way in. at the barbara davis gallery PeNeTraT-iNg Pores of CoNsTruCTioNs show, there was a hidden way in, and a little poem inside. at istanbul biennale there was a video inside, and in skive you could walk inside the structure. There is defi-nitely a big difference between the inside and outside of the construc-tions. and i feel it is always like that. That there is a big difference between being inside and outside, and how you want to break out or get in. and i try to capture people inside or outside, to see what it makes them think about and want to do.

you studied architecture before becoming an artist - are you now more influenced by the architecture of a space or by art? i am influenced by a lot of things, psychology and society in general. how we live amongst eachother, how we grow as human beings, emotionally and intellectually. aesthecially i am very influenced by sound. i think my language and how i chose to express my ideas, is somewhere between architecture and art. i guess i cant help think-ing in structures, but having painted since i was 15, it is difficult to separate the two for me.

with regards to your influences we talked once about contempo-rary artists from Copenhagen. would you say there was any element in your work which you would credit to being routed in something danish? i think the danish school of thick paint, which is actually more a german school, has influenced my work. when i was 13, i saw Kiefer and baselitz, and i just knew i wanted to be a painter. i am influ-enced by a lot of people today, because i enjoy painting, and simply can get high on a section of a painting that i think works.

would you say you are more influenced by european or american art?i used to be mostly inspired by european art, because my origins are european, and that is what i grew up with. i cant run away from that. but the american expressionists have also influenced me a lot and today i find it difficult to make a choice we all build onto the same history.

if you mix Mike Kelley with guston, saville and the music of the musician beirut it talks to me a lot. at the same time, i can imagine thousands of different expressions within that broad spectrum. i for sure would not come up with a combination like that, before i started working, it is just people i like for different reasons. i might build onto their work, but im not sure if it is visible.

your work in some ways conjures up stories, narratives of the lives of the ghosts and creatures of your abandoned spaces - are there any authors that you have a special connection to, that have influ-enced this direction? what are you reading at the moment? Paul auster. i like his way of writing and exploring other peoples lives like a detective. i like how the cityscape is used in the writing. it is very much how i approach my abandoned places for the first time. Making up rules about how i can travel around them and what i am investigating. i am re-reading the danish/Norwegian writer axel sandemoses novels about the fugitive esben arnakke, who fled my island, Mors, by ship in 1916 and went to Newfoundland. This summer i went in his tracks up there. My dad named our wooden ship after this character, and i am working with the tracking down of esben arnakke, both the sailor and our ship, which we lost in 86. The last thing we know about it is that it is in holland. i am also reading Kafkas slow for a group show i am co-curating and Poetics of space is always on my table.

your work inhabits the boundary between figuration and abstrac-tion, reality and the imaginary. is it important that it belongs to all four of these worlds both practically and psychologically? i like my work to be able to be read at different levels. as i also see my work as a construction with many layers; within this construc-tion the works are plotted in different places. i dont think of it as i work, but i can see it afterwards. some people might see the figura-tive reality, others see the abstract and imaginary, i like that a lot.

does your work propose any resolutions/answers to the environ-ments you explore or are they open to being further explored by you at some point in the future? i dont think i propose any answers, but i have a state of mind, and a political point of view, that might occur somewhere in the layers. i could easily go back to a project and work further, as i did with my projects in The PyraMid (an abandoned russian mining town by the arctic Circle). as i dont try to solve a project, or tell the full and whole story, it is open to being revisited if that makes sense.

you are moving around a lot now - youve said that your work derives somewhat from the environment you grew up in would you say that you select your habitats now with that in mind?i have travelled in iceland, berlin and Newfoundland this year, to work and study, so yes somehow it falls together. i am looking for places that have a certain feel of something i recognise. i seldomly find it close to home though. it is more in my mind, and i recognize it when it is there, but mostly in Northern areas because of the vegeta-tion and light.

THE CURRENT EXHIbITIONhow do your new abandoned structures differ from your earlier ones? The project at skive is about an abandoned amusement park in the former east berlin. it is the first time i am working with a fantastical world, in the sense that it is a magic fantasy world. it contains child-hood memories, as well as the death of childhood. it has the magical puzzling front side of the constructions as well as the real back stage, the honest side. The fake and the real, the night and day.

The structure is made of new wood and it copies the architecture of the roof of the museum room and in that way it relates more specifi-cally to the space than my former structures. it hangs from the ceiling by a hook, and a bag of 180 kg of coffee as well as standing on pillars and in that way it is a dishonest construction, like the amusement park attractions. The painted pillars are trying to be fantastical by being decorative both in their tilting ways and colouring. The bag is trying to evoke memories through the smell of coffee, the wood and the coffee bag both weigh 180 kg. so i am much more specific in this construction than earlier.

This situation has also evoked a more fantastical world for me in the paintings. The structures are more complex, and new colours are in play. i have not used green and yellow for many many years. Patterns, i have never used either.

The paintings depict post apocalyptic scenes to me panoramas of lost worlds with the diversity of your media, are you creating an atmosphere or a world? i am building on the abandonment of the amusement park and its stories, creating new layers of atmosphere, i would say. The specific narrative about the death af spreepark, carries a load of personal emotion and political struggle for the late owner, Nobert witte. i have worked with his story and it has unfold on several layers. i dont try to make a whole new world, but smaller aspects of some-thing - which when larger, could potentially be a world.

you are working more with film for this exhibition - what direction do you see your work taking? do you think you will focus on one media more than another at any point and if so, which media do you think that will be?

Painting is still my primary language but i find that the way i work now is becoming more routed. i am not looking for new medias to tell my stories, i prefer to go deeper and get more precision.

so i think i will stay here a bit, looking further into painting, film and construction. i feel that within this field there is so much to explore, and i dont feel like limiting myself to only one language. i have already narrowed my practice down from architecture, clothing and city-investigation (with the art-architecture group +laboratorium). working with one project in these three medias for me is to use the languages i know, but in new ways. a balance between safety and development that i find very stimulating.

often we are introduced to the creatures who inhabit your worlds the polar bear, the wolf - is this consistent or is the emphasis with this exhibition the inhabitants who no longer go to the fair the ghosts? is the emptiness reflected more literally anywhere? if you were to give this project inhabitants, what form would they take? i think i would paint a sad clown but i dont like faces in my paint-ings as you mirror youself in them and then you wouldnt be alone in them anymore, which is important to me. The big scale of these paintings make them more brutal, and i like that you are all alone in the room with them.

you have often explored spaces that are only inhabited by danger-ous creatures and of course yourself. is your presence reflected anywhere in the work - are you the protagonist? as i set up the music at the lenin square in The Pyramid and record the sound of slamming doors and playing ball, i become a not present inhabitant of the spaces. but i would not call myself a protagonist. i think i try to evoke a specific feeling in the recipient, which makes my work a dialogue between me, as the artist, and the viewer. i never do documentary work. i go in, to make my subjective artificial work, but it is not really about me. in this project you are exploring silence and death through the sound element of the work are you also exploring this in the paintings and structures?

if you could live with any work of art ever made what would it be? well, i would gladly take duchamps urinal, gustons back side, bernd and hilla bechers watertowers series; or the painting that made me want to paint when i was 13: anselm Kiefers, sulamith, 83.

yes, i think so. death is an important element of all my work. if it is not present visually it is conceptually.

are you giving life back to the dead by painting these lost spaces? or are you exploring the concept of life after death and death in life? i think it differs. sometimes i just overdo the death, so it almost becomes too much, and you have to laugh, because it becomes too romantic or melancholic. other times there is grass or other signs of life. i think in layers and i think there will be more layers after i leave, i want to keep the story open for these new layers. it could be life, if the humans are clever enough, hopefully it will be - but i cant promise.

hvor stammer dit navn fra? olise fandt jeg selv p, da jeg var barn, eftersom min fars navner ole og min mors navn er lise. Mie er et ret almindeligt navni danmark.

hvordan blev du kunstner? det kom vel ud af en traditionel kombination af at vre et barn,som tegnede meget, og som altid fandt p en masse historier, ogjeg ville altid ordne ting, og hvis det, som jeg ville have, ikke eksisterede eller var uden for rkkevidde, lavede jeg det selv.

Kommer du fra en kunstnerisk baggrund? egentlig ikke. Men min baggrund og opvkst er alligevel kildentil min kunst. Min far var skibsbygger, og vi sejlede i 10 r i deskandinaviske havomrder, og jeg brugte meget tid p at galene rundt blandt store industriskibe i alle havnene i danmark,Sverige og Norge. p et tidspunkt havde vi et savvrk, som viforlod, da vi gik fallit.

hvor voksede du op? Jeg voksede op p en Mors i danmark. Jeg tilbragte de frste r af mit liv p en politistation, cellerne var tomme, og de blev s ku-lissen til mange af mine dukkespil, jeg kunne virkelig godt lide det meget smukke lyserde tppe p trapperne i fngslet. en Mors er ogs hjemsted for forfatteren axel Sandemose, hvis historie jeg skal arbejde med i mit nste projekt.

Jeg vil begynde med at tale om, hvad den kunstneriske procesbetyder for dig dine vrker er udtryk for en meget taktil stetik, de er r og giver en lyst til at rre du er ikke specielt forfinet i dit udtryk. Detaljerne hober sig op i dit udtryk, og dine elaborerede fantasier giver liv til dit vrk. Klimakset indfinder sig som en kulmination p, at en ny verden opstr ud af en forladt verden, med de mange forskellige elementer, der spiller sammen i det samme rum.

iNtervieW loNdoN / KbeNhavN oKtober 2009aNabelle de gerSigNY Mie oliSe

reprsenterer dine forskellige medier nogle forskellige verdenerfor dig, eller arbejder du med forskellige aspekter af det sammeprojekt p samme tid? Jeg tnker p mine projekter som parallelle systemer, der fungerersamtidig. Men jeg bruger mig selv forskelligt alt afhngig afhvilken proces, jeg befinder mig i. i atelieret er jeg maler, og herarbejder jeg malerierne op over en lngere periode. der er denkonceptuelle id bag vrket, men maleriet fr sit eget liv og tager sine egne beslutninger, efterhnden som det udvikler sig. det tager over i en lang periode, indtil jeg trder et skridt tilbage ogbegynder at analysere det p afstand og fr kontrol med proces-sen igen jeg bliver ved med at finde en balance mellem de toprocesser, indtil jeg mener, vrket er frdigt.

Mine videoer, derimod, er planlagte fra begyndelse til slut, og selve film-mediet og det faktum, at jeg ikke er en erfaren filmma-ger, gr hele processen mere samarbejdsprget. Jeg fr hjlp frafotog