Ann Lislegaard is renowned for her experimental 3D animations, sculptures and sound and light installations. Overgaden is proud to present Lislegaards new solo exhibition, Spinning and Weaving.
Lislegaard’s work is often based on science fiction, which she uses as an alternative approach to language, gender roles, identity, and the social and psychological structures through which we understand the world. For Lislegaard, science fiction provides a laboratory where ideas can be tested and new alternate scenarios can be created.
Her exhibition at Overgaden is comprised entirely of new works. A central piece is the 3D animation Spinning and Weaving Ada where a spider spins a psychedelic web of the letters ADA LOVELACE. Ada Augusta Lovelace was a mathematician who in the first part of the 18th century wrote the algorithms that came to form the basis of the world’s first software and computer. She is today seen as not only a pioneer in computer technology, but also as a forerunner of the development of the internet. The animation is an homage to Ada Lovelace and the feminist qualities that are associated with spinning and weaving: forming patterns and shapes with threads, connecting, creating nets and networks.
The point of departure for the sound and light installation, Shadows of Tomorrow, is the science fiction film Contact in which a female scientist after years of searching and listening captures sounds from outer space. These sequences of sounds and codes are perceived as a language from an unknown entity wishing to make contact. Using this science fiction film, Lislegaard has created a vocabulary of manipulated sound passages that are re-recorded with a human beatboxer into a new and abstract language. The soundtrack is played out in the installation in several sequences together with multiple lights: an algorithm prompts the coloured lights to switch on and off. Performed through the beatboxer’s body and with resonance in the installation, Lislegaard’s Shadows of Tomorrow proposes hidden messages and future events. With the use of an alternative vocabulary and sounds channelled through the body, the beatboxer voices the unknown.
Ann Lislegaard (b. 1962) lives and works in Copenhagen and New York. Her solo exhibitions include shows at Tel Aviv Museum, Israel, (2015), Kyoto Art Center, Japan (2015), Murray Guy, New York (2014), Museum of Contemporary Art, Detroit (2009), Astrup Fearnly Museum of Modern Art, Oslo (2007), X-rummet, National Gallery of Denmark (2007), Esbjerg Art Museum (2006), and Moderna Museet Project, Stockholm (1999). Besides participating in numerous exhibitions in renowned museums and art institutions internationally, she has also participated at the Venice Biennale in 1999/2005, Sao Paolo Biennale 2006, Lyon Biennale 2013, Sydney Biennale 2014 and latest the Gwangju Biennale in South Korea 2016.
Spinning and Weaving Ada, 2016, 3D Animation and Double Light Modules, 2016, mirrors. Installation view
Algorithms, 2016. Neon
Shadows of Tomorrow, 2016. Sound and light