Ann Lislegaard
Time Machine, 2011
Musée d'art contemporain de Montréal
22.10.14 – 04.01.15

In Time Machine (2011), a computer-animated fox stutters through an account of his visit to the future. Difficult to follow, the tale occasionally slides into incoherence as if the journey disrupted something in the fox’s capacity to recall and recount. Why is the fox so hard to follow? Perhaps because Danish words are slipped into the English monologue. And yet, should we really be surprised? Isn’t the improbability of time travel equal to that of a talking animal?

Projected onto an unfurled mirrored box whose open geometry fragments the surrounding space, making it difficult to delineate where the structure ends and the room begins, the fox’s image glitches along with its voice and narrative. In direct reference to H.G. Wells’ The Time Machine (1895), this works epitomises Lislegaard’s exploration of science fiction as a means to think about notions of language, politics, gender and the future. As she has stated: “I see science fiction as a laboratory where transformative scenarios and unstable ideas can be staged and tested.”
– ML

Time Machine, 2011, mirrored box with HD video projection, sound, 11 minutes, English and Danish, installation dimensions variable, mirrored box: 125 x 94 x 94 cm (courtesy of the artist, Murray Guy Gallery, New York, and Paul Andriesse Gallery, Amsterdam; special thanks to Jesper Carlsen for 3D animation, Joshua Mittleman for voice, Stefan Pedersen for sound ingeneering and the Danish Arts Council for their support)
Dobaded, 2014
Musée d'art contemporain de Montréal
22.10.14 – 04.01.15

Premiering at La Biennale de Montréal, and projected above Time Machine, the single-channel 3D animation Dobaded (2014) expands this sort of laboratory. The experience is like moving within a big machine, but also similar to moving through a text or a poem. Here, the artist calls on Surrealism’s dream of a revolutionary art anchored in the subconscious. The animation can be seen as hallucinatory journey as well as a reinvestment of the promises of surrealism.
– ML

Dobaded, 2014, 3D animation, HD video projection, dimensions variable, 11 minutes (courtesy of the artist, Murray Guy Gallery, New York, and Paul Andriesse Gallery, Amsterdam; thanks to Jesper Carlsen for 3D animation and the Danish Arts Council for production support)
Biography

Born in 1962 in Tønsberg, Norway, Ann Lislegaard lives and works in Copenhagen and New York. She has had solo exhibitions at Marabouparken Art Gallery, Sundbyberg/Stockholm (2010); Henry Art Gallery, Seattle (2009); Museum of Contemporary Art, Detroit (2009); Astrup Fearnley Museum of Modern Art, Oslo, Norway (2007, 2005); Statens Museum for Kunst, Copenhagen (2007); Aldrich Museum of Contemporary Art, Rigdefield, CT (2004); Nationale Fotomuseum, Diamanten, Copenhagen (2002); Dundee Contemporary Arts, Dundee, UK (2002); Kunstnernes Hus, Oslo (2001); and Moderna Museet, Stockholm (1999).

She represented Denmark (with Peter Land, Joachim Koester, Gitte Villesen and Eva Koch) at the Venice Biennale (2005) and participated in group exhibitions at the Latvian Centre for Contemporary Art, Riga (2014); Palais De Tokyo, Paris (2013); Museum of Contemporary Art, San Diego (2013) ; Malmö Konsthall, Sweden (2013); Ludwig Museum-Museum of Contemporary Art, Budapest (2010); Pulitzer Foundation for the Arts, St. Louis, MO (2008); The Kitchen, New York (2008); CCCB-Centre de Cultura Contemporània de Barcelona, Spain (2008); and the Israel Museum, Jerusalem, (2006). She has also exhibited at the Bienal de São Paulo (2006), Busan Biennale, South Korea (2010); 6th Momentum Biennial, Moss, Norway (2011); Lyon Biennale (2013); and Biennale of Sydney (2014). She is represented by Murray Guy, New York and Galerie Paul Andriesse, Amsterdam.

lislegaard.com