Moving images play a central and significant place in Louisiana’s collection. Lighting up the darkest months of the year, a number of the collection’s distinctive video works were on show in the South Wing.
Several of the works on view have long since gained classic status with the museum’s visitors and in art history. Others are new acquaintances. Basic reflections on identity, gender, human relationships and our sensory interaction with objects and technology run like threads through the exhibition. We also encounter depictions of both playful and rather disturbing chain reactions that we are part of and started ourselves.
A notable genre in the collection and in this presentation are works where we see the artist performing an action directly for the camera. Such carefully staged one-on-one exchanges with the camera have roots back in the merger of performance art and video in the 1960s. The genre continues to evolve today, now with webcams and the internet as medium and platform.
We regularly present Louisiana’s collection in new constellations. This is key. Every time the works meet each other and our ever-changing gazes, new meanings, connections and narratives emerge – across periods and themes.
- Johan Oja, Playing Dandelion, 1990
- Pipilotti Rist, I’m Not The Girl Who Misses Much, 1986
- Ragnar Kjartansson, Me And My Mother, 2015
- Ulay & Marina Abramović, Light/Dark, 1977
- Absalon, Bataille, 1993
- Klara Lidén, Bodies of Society, 2006
- Mark Leckey, Pearl Vision, 2012
- Hannah Levy, Untitled, 2014-15
- Superflex, Flooded McDonalds, 2008
- Peter Fischli & David Weiss, Der Lauf der Dinge, 1985-87
- Bunny Rogers, Diary, 2012-14
- Gary Hill, Viewer, 1996
- Yayoi Kusama, Kusama’s Room, 1999
- Cécile B. Evans, Hyperlinks or It Didn’t Happen, 2014
- Rineke Dijkstra, Ruth Drawing Picasso, Tate Liverpool, 2009