Ana Hansa-Ogren

large scale sound and video installation. 20 min duration, exhibited on loop.

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Includes video content appropriated from Google Earth 🔗

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texts from; classic nature writing, romantic comedies, and domestic abuse support literature

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read aloud by the mac computer voice “Oliver” 🔗

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completed during my time as an Artist in Residence

at the Studios at MASS MoCA 🔗

installation view

video stills…

stacy

(from an incel glossary of terms 🔗)

white peace

femoid/void

(from an incel glossary of terms 🔗)

louche lounge

volcel

(from an incel glossary of terms 🔗)

hirsute aeron

parallel play

pool

je ne sais quoi

cope

(from an incel glossary of terms 🔗)

LDAR / lay down and rot

(from an incel glossary of terms 🔗)

inner sea

joan in dreams

pour

womb chair

how to make a fist

EWALT/enough women are like that

(from an incel glossary of terms 🔗)

cisssssssss

grand modele

MGTOW / men going their own way

(from an incel glossary of terms 🔗)

some sugar

blonde lounge

scrolllllllllllllll

single channel video with sound. 20:29 min. 2019.

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all 3d objects appropriated from

Sketchup 3D warehouse 🔗

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"Carcass" by Siousxie and the Banshees 🔗

(sonically pixelated)

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original lyrics:

Someone's in cold storage
Seeking Heinz main-courses
Craving for a raw love
He'll hide you from the cleaver
He'll hang with you forever
Longing for a fresh meat

By hook or by crook
You'll be first in his book
For an impaled affair
By hook or by crook
You'll be last in his book
Of flesh oh so rare

Be a carcass... be a dead pork
Be limblessly in love
Be a carcass...be a dead pork
Be limblessly in love

Someone's left in cold storage
Thawed in Heinz main-courses
Carving for a new tin
He got you with the cleaver
He hung you up forever
Anticipating new skin

Out of the frying pan
And into the fire
58th variety
Out of the frying pan
And into the fire
Mother had her son for tea

Be a carcass...be a dead pork
Be limblessly in love
Be a carcass...be a dead pork
Be limblessly in love

In love with your stumps
In love with the bleeding
In love with the pain
That you once felt
As you become a carcass
You become a carcass
Carcass

performance series [in collaboration with Margaret Hull 🔗]

vocalization of text [Walter Benjamin, The Image of Proust 🔗 pp. 202-3] bouncy balls, drumstick, one-way glasses, attire.

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A call and response performance that reanimated the language of a canonized theoretical text as well as the transitionary space of the stairwell, through reverent vocalization and meditative ambulation. The text was rendered almost indecipherable as it was sung, one word at a time, in elongated and expressive syllables that echoed throughout the stairwell. The performance was an embodied expression of the content of the text.

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excerpt from “The Image of Proust” by Walter Benjamin:

"..an experienced event is finite.. confined to one sphere of experience; a remembered event is finite, because it is only a key to everything that happened before it and after it. There is yet another sense in which memory issues strict weaving regulations. Only the actus purus of recollection itself, not the author or the plot, constitutes the unity of the text... the intermittence of the author and plot is only the reverse of the continuum of memory, the pattern on the back side of the tapestry."

excerpt documentation of second iteration, performed in

Cranbrook Academy of Art Library 🔗

(one of my favorite places)

2020. single channel video with sound. 7:55.

song: Ode to a cowboy by Ranny Sinclair [lyrics modified]

vocals: me + Tom (Mac system voice)

architectural intervention with sound element

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many thanks to Patrick McGuan 🔗 for modeling, and for letting me take multiple molds of your face :)

(his work is also great)

3 channel sound installation

“I hate the idea of art and myth, and Seedbed has an amazing myth that I can’t stand.”

Vito Acconci

Germ is a pluralistic, grateful, and critical conversation with Vito Acconci’s notorious 1971 performance work, Seedbed.

Instructions: (as enacted on 10.18.2019)

scan the QR code or visit https://youtu.be/6K1FDtktj5E to connect to the livestream

turn the volume on your phone up

place your device on an erogenous zone

*note: The definition of erogenous is entirely up to you. It could be your ear, an element of the architecture, or an armpit. It could change while you’re listening. If it happens to be on the body of another, ask for permission.

In the interest of rekindling the visceral effect of this seminal performance work for present engagement and reanimating its experiential significance in a more inclusive and elastic framework, I have approached it from a nonbinary perspective that navigates intimacy through the blending lens of augmented reality- the smartphone.

In its time, Acconci’s performance incited a necessarily immediate, if arrestingly unsettling, relationship between artist and audience within the context of the white cube. As a canonized work, it does this through an understanding of intimacy historically framed by a power dynamic of eroticism filtered through the heteronormative male gaze of the era. The work was later restaged by Marina Abramovic at the Guggenheim in 2005, almost verbatim. While Abramovic’s performance reprised Acconci’s through the vessel of a female body, it did little to shift the restrictive binary conception of gender or the repressive, male-centric notion of desire inherent to the original. She essentially represented the myth.

This interpretation disrupts the archetype by writing consent and participant agency into its framework. The definition of “erogenous zone” is intentionally vague and left entirely up to the audience. It can be an ear, an architectural element, or located on the body of another (with permission).

plaster, burlap, vaseline, lipstick. 2015.

plaster, burlap, vaseline, lipstick. 2015.

plaster, burlap, vaseline, lipstick. 2015.

dance dance (song credit: looking glass by little dragon)

blue moon

linedrawing

centering

Hehehe.

blue

monitor (clip)

lakedrawing

i have every reason to believe you know exactly what i mean

line

abroad