Guri Guri Henriksen
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En Milonga DVD, 2'24'', 2009 Norway |
Tell me something about you and artistic background.
I lived in France for 9 years. During some of these years I studied sculpture at Ecole National Superieure des Beaux-arts de Paris (Academy of Art in Paris). After my return to Norway I became associated with Atelier Nord - which at that time was a laboratory for artists, where I learnt to handle diverse electronic tools which I now use for my work.
Tell me about this film, initial idea and work process.
In 2003 I participated in a ”Digital Workshow” at the Munch Museum together with 8 other artists. We were to use pieces of Munch’s as a basis for own works. On this occation I initiated a work in which I used pieces from the series of paintings called The green room as a stepping stone. Their common feature is that a man and/or a woman is/are present in an oppressive, theatrical room with a narrow door in the background. The furnitures in the room are a sofa and a round table with its endplate directed towards the viewer. On the table there are some glasses and bottles and it seems that the man and woman are focusing more on these things than on one another. Their glances do not meet. The table functions as an insuperable barrier which defines their relationship. On this background I began to work on a video animation in which I describe or indicate events in a relationship between two people, without including them, by tracing the movements of things. How to describe a situation, a sequence of events through the dynamics of objects? How to animate objects, yet allowing something of their common use to remain? The intention is not to convey a precise story, but rather to give the spectator an impetus to make his own. It will last 2:24 minutes according to the soundtrack Milonga des mis amores (P.Laurenz) 1944. Milonga appeared earlier than tango and had more simple steps in a much quicker rhythm. While dancing Milonga you cannot retard like in tango. In Milonga the tango drama is replaced by a livelier, happier and steady rhythm. The title of the video animation is “A Milonga”.
Are you working on new projects at the moment?
I am just finishing an animation for Tegnebiennalen 2010. In that animation I have been working with lines in diverse objects, tracing lines in paper and textiles, such as lines and stippled pajamas jackets. Some places I have added the drawn lines and the line arising from many stipples. This animation is mostly made on the writing table. The sound arises from the drawing of the lines.
Do you have specific influences in your film/video making?
I think on my animations as sort of sculptures. When working, some ideas of installations and sculptures are often accompanying me somewhere in the back of my head. In some of my previuos compositions I was stimulated by arts of Robert Gober, Kiki Smith and Janine Antoni. I would like to follow a logic happening while I am filming, rather than fixing thoughts beforehand, so as to allow forthcoming things/thoughts to have their say. Otherwise, a book, such as Georges Bataille’s ”Story of the eye”, may have equally significant influence on a video work. Reminiscences of childrens’ books, like Elsa Beskow's stories, and of films from my childhood are important memories, as well.
Why is it important for you to show your film/video in a festival?
I am accustomed to show my works at film festivals and do hope that many a visitor will enjoy my film.
What role do you think Oslo Screen Festival should have to promote your work?
I do not really know, but I am most grateful for the Festival’s acceptance of my work.
