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Kalin Lindena [Videonale.12]

*1977 in Hannover GER, lives in Berlin GER
Studied at the HbK Braunschweig GER

 

Exhibitions [selection]:

 

2012 Das Meer sich kämmt zur Reise wieder", Städtische Galerie Nordhorn GER [S]

2011 Geleise, Du Schatten, Kunststiftung Erich Hauser, Rottweil GER [S]

        Bleib wie du willst, Galerie Meyer Riegger, Karlsruhe GER [S]

2010 Kalin Lindena, Sprengel Museum Hannover, Hannover GER [S]

        Paradise Lost. Holidays in Hell, CCA Andratx, Mallorca ESP

2009 Names Bridges, Cubitt, London GBR [S]

        As if words meant nothing, kunstbuero Temporary Gallery Vienna, AUT

        7 x 14, Staatliche Kunsthalle Baden-Baden, Baden-Baden GER [S]

        Ein Heutiger, In Situ-Fabienne Leclerc, Paris FRA [S]

2008 Für alles gegen gut ist, Galerie Parisa Kind, Frankfurt/M GER [S]

 

www.galerie-nagel.de

 

Kalin Lindena [Videonale.12] x

Gegenüber [Ein Stehtanz], 2008, 9:44 min, sound, colour [Videonale.12]

As implied by the title, only seconds after it starts, the music of this film has set the mood for a dance film. Artist Kalin Lindena herself is involved in the performance, which shows her dance trio in long shots of Rockaway Beach in New York. In a picturesque setting, the apparently improvised free dance is accompanied by classical music, which is replaced by more modern rhythms as night falls. Sculptures by the artist are superimposed, creating a transition to the galleries at the Oldenburger Kunstverein. There, in a kind of silhouette, she performs a stationary dance among the objects, which have taken on a type of physicality and seem to be more than just props. The two settings are linked by light signals, with which the dancers come into contact. The way the dancers look directly into the camera also focuses the audience. This not only connects spaces, but brings people and objects "face to face". Synchronously or asynchronously, new movements are added to traditional steps, resulting in the development of an innovative form of dance. The peculiar ability of the modern work of art to open up different possible variations lies in its communicative structures. Kalin´s "open" way of dealing with stages, props, figurines, and extras is very close to Umberto Eco´s modern understanding of an open work of art: "An open work of art has the task of the showing us the image of discontinuity; it does not tell it, it is it". [Umberto Eco, The Open Work, [Cambridge, MA, 1989]].

Nora Jablonowski, Vesna Tornjanski

Kalin Lindena