b. 1962 in Tønsberg, Norway; based in Copenhagen and New York
Works in exhibition
Oracles, Owls… Some Animals Never Sleep, 2012–14
Double-channel 3D animation with sound
10 min. 34 sec.
Dobaded, Dobaded, 2014–15
Double-channel 3D animation
6 min. 5 sec. and 5 min. 42 sec.
See all installation views at higher resolution: www.flickr.com/photos/parasophia/sets/72157656868347051
Ann Lislegaard has participated in the 2005 Venice Biennale, the 2006 São Paulo Biennale, the 2013 Lyon Biennale, and the 2014 Biennale of Sydney. Solo exhibitions include shows at the Astrup Fearnley Museum of Modern Art (Oslo, 2007) and the Museum of Contemporary Art Detroit (2009). She is known for 3D film animations and sound-light installations often departing from ideas found in science fiction novels such as Dhalgren by Samuel R. Delany and The Left Hand of Darkness by Ursula K. Le Guin. She finds in science fiction an alternative approach to language, narration, gender roles, sexuality, and concepts of the future.
Her Crystal World (after J.G. Ballard) (2006) is set in a hotel that is slowly crystallizing. As the animation moves through the architecture, one encounters furniture by the female architect Lina Bo Bardi, Robert Smithson’s sculpture Dead Tree, and Eva Hesse’s Untitled (Rope Piece). These “virtual replicants” are re-activated in the animation as provisional characters in a setting where time itself is ruined.
In Oracles, Owls… Some Animals Never Sleep, which draws on Philip K. Dick’s Do Androids Dream of Electric Sheep?, a computer-animated owl delivers a monologue of aphorisms and latent fragments that consist of prophecies from I Ching and a feminist speaking in tongues. The monologues are interrupted by squeaks of compressed noise, dramatized and distorted samples from Ridley Scott’s Blade Runner. Although it is at times menacing, it is also humorous, a doubled and redoubled self, with its unsynchronized dancing and trance-like movements. Her new work Dobaded Dobaded focuses on Chiaki Kawamata’s 1984 science fiction novel Death Sentences. Lislegaard’s piece features an animated portrayal, reminiscent of a space-time vortex, of the hallucinatory poetic text that forms the crux of the novel’s surreal landscape of history, politics, translation, and language.
Still from Ann Lislegaard, Dobaded, Dobaded, 2014–15. Double-channel 3D animation
Ann Lislegaard, Dobaded, Dobaded, 2014–15. Installation view at Kyoto Municipal Museum of Art for Parasophia: Kyoto International Festival of Contemporary Culture 2015. Photo by Norimasa Kawata
Ann Lislegaard, Oracles, Owls… Some Animals Never Sleep, 2012–14. Double-channel 3D animation with sound. Still from animation shown at the 19th Biennale of Sydney, 2014. Courtesy of the artist and Murray Guy Gallery, New York
Ann Lislegaard, Oracles, Owls… Some Animals Never Sleep, 2012–14. Installation view at Kyoto Municipal Museum of Art for Parasophia: Kyoto International Festival of Contemporary Culture 2015. Photo by Norimasa Kawata
Ann Lislegaard, Crystal World (after J.G. Ballard), 2006. Double-channel 3D animation. Installation view, 27th Bienal de São Paulo, 2006. Photo courtesy of the artist and Murray Guy Gallery, New York
Ann Lislegaard, Left Hand of Darkness (after Ursula K. Le Guin), 2008. Three-channel 3D animation with sound. Installation view, Museum of Contemporary Art Detroit, 2009. Photo by Jesper Carlsen, courtesy of the artist and Murray Guy Gallery, New York
Installation view of Ann Lislegaard, Time Machine, 2011. Projected 3D animation, unfolded mirrored-box, sound. Photo by Fabiana Viso, courtesy of the artist and Murray Guy Gallery, New York