F.F.A.L. #1, #2, #3, Kunsthalle Nürnberg F.F.A.L. #1, #2, #3_installation_thumbnail F.F.A.L. #3, detail F.F.A.L. #2, detail F.F.A.L. #1, detail F.F.A.L. #1, #2, #3, installation view

Die Installation zeigt drei fiktive bildende Künstlerinnen, deren Leben in drei bekannten Romanen beschrieben wurde: Elvire Goulot, eine Französiche Malerin die in den 20-er Jahren lebte, Elaine Risley, Kanadierin und geboren in 1937, und Ueno Otoko, die in der Mitte des 20. Jahrhunderts in Kyoto als Malerin bekannt wurde.
Ter Heijne hat den Bildern aus der Literatur (Guillaume Apollinaire, La Femme assise, Margaret Atwood, Cat’s Eye, Yasunari Kawabata, Utsukushisa To Kanashimi To.) eine reale Präsenz gegeben. Jeder Künstlerin ist zeitgemäß gekleidet und tragt ein Textfragment, den Literaturvorlagen entnommen, vor. Durch die Zusammenstellung von drei Figuren entsteht ein Tonkomposition, in welche scheinbar immer wiederholende Themen auftauchen.

Quellen
La Femme Assise, Guillaume Apollinaire, Paris, 1920
Cat’s Eye, Margaret Atwood, Toronto, 1988
Utsukushisa To Kanashimi To, Yasunari Kawabata, Tokyo, 1961

Diese Installation wurde gezeigt
Any Day Now, Lentos Museum, Linz, 2011
Any Day Now, Kunsthalle Nürnberg, 2010
Shanghai Biennial, Museum of Modern Art, Shanghai, 2006
Forgetting, Hospitalhof, Stuttgart, 2005
Temporary Import, Artforum, Berlin, 2005
Qo akti?, Galerie Martina Detterer, Frankfurt am Main, 2003
Number One, Galerie Arndt & Partner, Berlin, 2002

Text, der von den Dummies gesprochen wird

F.F.A.L. #1 (Elvire Goulot)
J’essaie de me consoler â dessiner des…
qui je enluminais ensuite et qui me servaient de…
Je peigne aussi des bouquets éclatants où paraissaient des…
noires.

F.F.A.L. #2 (Elaine Risley)
I have given up on oil paintings too.
I draw with coloured pencils.
Nobody teaches this anymore, so I hunt throught the library, searching for instructions.
is difficult and messy, painstaking and, at first, heartbreaking.
I ruin panel after panel before I can work out how to…
for a smooth working surface.
Or I forget about my bottles of…
which go bad an stink up the cellar with a smell like…
Later, I think, I will have a large studio, with…
though what will paint in it is far from clear.
I become fascinated with the effects of…
What I’m thinking about is a picture I painted, years ago now.
A lot of my paintings then began in my confusion with words.

F.F.A.L. #3 (Ueno Otoko)
I’ll go ahead with my painting:
It’s a picture of a…
If I don’t paint it right away, I may never be able to…
It’s already on the verge of turning into something…
losing all the love and…
In recent years I have seen photographs of…
but these I found quite repulsive.
Therefore I have no idea of the face and form of the…
only a vision in my heart…
And how am I to paint the…
How shall I treat the background, the minor motifs?
I looked again through my albums of…
but these delicate fantasies were too alien to stimulate my own imagination.
Once more the…
came before my eyes: portraits based on the legend of…
But I begin to wonder if my attraction to the portraits…
might not have the element of self-love…
Maybe I have hidden desire for a self-portrait.
Might not these sacred visions be nothing else than a vision of a saintly me?”

Quellen
La Femme Assise, Guillaume Apollinaire, 1920
Cat’s Eye, Margaret Atwood, 1988
Utsukushisa To Kanashimi To, Yasunari Kawabata, 1961