Lippard’s exhibition “Story not Story, Half II” is a continuation of her exhibition “Story not Story” having taken place at LA MAISON DE RENDEZ-VOUS, Brussels final month. It options the brand new sound set up No Networks in addition to Lippard’s Damaging Curses (2021) from her on-going collection of Curse-tablets (2018-).
Hanne Lippard has been utilizing language because the uncooked materials for her work for the final decade, processing it within the type of texts, vocal performances, sound installations, printed objects and sculpture. The artist has developed a follow that lies on the confluence of spoken and written phrase, whereby she appropriates content material from the general public sphere, mainly from on-line sources or from the sphere of promoting, to research how the rise in digital communication and mediation is reprogramming our relationship to language. Lippard intertwines discovered textual content along with her personal materials, which she then manipulates by way of quite a lot of units, resembling repetition, the shifting of intonation, or the exploitation of homonyms, so as to formulate musings on up to date life.
She attracts upon themes together with questions of bodily and psychological wellbeing, self-optimization, and residing by way of the lens of social media. By consciously choosing on the seams of her discovered and fabricated texts, Lippard makes us conscious about the fragility of language as a instrument for conveying that means and sense. She exposes its flaws, its oddities, its double entendres, and its potential for misinterpretation by way of collection of calmly obsessive utterances that bear an affinity to the iconoclastic literary experiments of the Dada motion.
Each the Damaging Curses (2021) and No Networks (2022) are the results of a yr of repeated rejection, refusal, and cancellations, each privately and professionally. This fixed negation made Hanne Lippard query her personal incapability to say no, realising that she was usually saying sure, solely to remorse it in a while, feeling that it was too late to withdraw as soon as the sure had been uttered, as if it was set in stone. The sound set up No Community (2022) is a looped refusal, resonating an limitless spiral of disconnection to an invisible physique. Though the connection doesn’t exist, it’s unbearably current in its absence, creating its personal digital adverse area.
at LambdaLambdaLambda², Prishtina
till January 28, 2023