Perfect Continuum
Perfect Continuum
Perfect Continuum
Perfect Continuum
Perfect Continuum
Perfect Continuum
Perfect Continuum
Perfect Continuum

Perfect Continuum

Theresa Himmer
16.12. 2017–15.06. 2018

English below

„Þegar við lýsum atburðarás í þáframtíð, vörpum við okkur fram í tímann en horfum jafnframt til baka á þann framgang sem á sér stað.“

Stafir úr endurskinsfilmu á hvítum grunni, mynda setninguna: „Það mun hafa verið hér.“

Í tengslum við ofangreinda tilvitnun vísar setningin þó, frekar en til framgangs atburðarásar, til tímatengingar staðar.

Á meðan málfræðiform þáframtíðar sameinar stöðugt þátíð og framtíð, þá er endurskin stafanna sett fram í staðfastri nútíð.
Nátengt staðsetningu athuguls þátttakanda sem hreyfist í umhverfi verksins, virkar Perfect Continuum í núi ljóss hins endurvarpandi texta; umlykjandi birtu frá útiljósi eða sterkum framljósum bíla, ekki síst þeirra sem beygja til vinstri frá Dugguvogi niður Kænuvog.

Það að verkið sé sett upp á dimmasta tíma ársins, gerir bókstöfunum kleift að vera í andstöðu við hið umlykjandi myrkur. Þegar sumarið nálgast mun sýnileiki stafanna hafa verið þverrandi eftir því sem dagsbirtan eykst.

http://www.theresahimmer.com

“When we describe an action in the future perfect continuous tense, we are projecting ourselves forward in time and looking back at the duration of that activity.”

In reflective letters on a white background, the sign reads: “It will have been here”.

Meanwhile, in relation to the quote above, rather than the duration of an action the passage alludes to the duration of a place.

While the grammatical form of the future perfect continuous incorporates a past and a future, the reflective physicality of the letters is set in a concrete present tense. Relative to the position of the viewing body as it moves through space, Perfect Continuum operates in the now of reflected light; ambient, from the lamp or from sweeping headlights especially as cars turn left from Dugguvogur to Kænuvogur.

Installed during the darkest time of the year, the letters are visible by way of contrast to the surrounding darkness. By summertime their visibility will have been diminished by the heightened daylight.

Theresa Himmer is an artist and an architect. In work, which includes photography, single- channel video, and installations in public space, Theresa Himmer uses architectural tropes, pop cultural elements, and psychoanalytical references, to reflect on aspects of place, locational identity and memory. Himmer’s process is largely research based. Through gestures of repetition, translation and overlap, she holds up marginalized spaces for critical analysis and poetic contemplation, in works that often unfold at a slow pace.

Himmer was born in 1976 in Aarhus, Denmark. She is a graduate of the Whitney Museum Independent Study program, received her M.F.A. from School of Visual Arts, New York and her M.Arch. from Aarhus School of Architecture, Denmark. Her work has been shown in group exhibitions internationally including at FLAG Art Foundation, Soloway and Nurture Art galleries, New York; Young Artist’s Biennial, Bucharest; National Gallery of Iceland and Westfälische Kunstverein, Münster, Germany among others. Solo projects have been presented at Art in General, New York, Reykjavik Art Museum, Iceland and public artworks have been on view within the urban fabric of Reykjavik, Iceland; London, UK; Mexico City and Perm, Russia. She has received awards and grants from The Danish Arts Foundation The Danish Arts Council, The Paula Rhodes Memorial Award and The American-Scandinavian Foundation.