Lena Hawkins creates image-based works that re-enact rare and other non-circulating materials. She practices analog techniques including producing prints, films, and microfilms in an effort to preserve and re-construct fabricated entities. Her favorite topics of conversation are unsolved mysteries, recreational vehicles, and products that are out of production.
Hannah Heilmann pursues imagery in which cultural coding stands out clearly, while revealing it’s random joints at the same time, so that the construct may rebuild itself anew without prejudice.
Her work takes place as video, installation, computer collage, staged photography and explorations of poetic language, fusing mundane situations of everyday experience with the phantasmagoric: A woman sits in front of her computer. Another person sleeps in homely yet strange surroundings. One has a body entirely made of brains, another is burned. Everything is mystical and therefore nothing is.
Hannah Heilmann’s work often deals with issues such as “identity’’ and “selfhood” and is strongly informed by the experience of working in collaboration for years, especially in the collective consciousness of Ingen Frygt, but also the 8 woman group of groups Party and Lost, exploring elements of life-as-art and the logistics of ecstatic overstepping. Does the relation between the individual artist and the strivings of a collective mirror the challenges of any group? Is the collectively executed artwork closer to life? Or does the single group member’s renunciation of self just result in a self-sufficient social-ego? Is any artist group, intentionally or otherwise, an artwork in itself – a laboratory for social relations?
As such, Hannah Heilmann’s project also has to do with a conception of the self as open and outside of the body, something in between culture and beyond it, hovering above unspoken emotion; excitement, happiness and sorrow, like the space between the brain and the computer screen; your presence being right there.