portfolio - hanna husberg


portfolio - hanna husberg
hanna husberg
2012, mixed media installation, LP record, slideviewers with stereolithographies, videos, slides, variable
A recorded voice narrates a history of a Human Meteorology. It’s the story of the air we breath and the atmosphere
that surrounds us, and of how we have tried to control and modify it. The voice is accompanied by lightprojections
and moving images on monitors, which explore our perception of fluctuations around us, the making of weather,
being in it and the materialization of the invisible.
Human meteorology, 2012, LP record, 16min
Blue sky filter
slideviewers, stereolithographies
Human meteorology, 2012, LP record, 16min
Diamond dust,Color of a lake, Shockwaves & Vortexes,
2011-12, looped videos on monitors
Lightdrawings, 2012, video, colour, 4min 30sec, looped
Human meteorology, 2012, LP record, 16min
Blue sky filter
slideviewers, stereolithographies: Airopaidia, 1786, Breathing device, 375, Cloudseeding, 1947, Gas attacks, 1915, Hail cannon,
1898, Snow crystals, 1885, Roofed city, 1949, Weather shooters, 1555
Haloclasty (images in becoming), 2012, slides of salt, slideprojectors
Roofed city, 2012, stereolithography in slideviewer
Diamond dust,Color of a lake, Shockwaves & Vortexes, 2011-12, looped videos on monitors
Diamond dust, 2012, installation view, KKH Stockholm
2011, salt
Infiltration is a soft texture of salt progressively built up on the wall. Pleasing to the eye, it simultaneously evokes the
presence of a potentially threatening subnature. An invasive, uncontrollable element which questions the groundedness
and the stability of the architecture.
Infiltration, 2011, NAC Open Studios, Nida
Designing the leak, 2011, ESAAA, Annecy
2011, digital print on plexiglass mounting
A serie of saltdrawings reproducing the island of Utopia as described by Thomas More in his homonymous book,
are captured and sealed under a layer of plexi.
Conserving utopias, 2011, digital print on plexiglass mounting , 60 cm x 40cm
2010, hdv video, colour / b&w, stereo, 16/9, variable dimensions, 4 min 40 sec & 5 min 55 looped
In Swimmer a man crosses the English Channel in fourteen hours.
The video follows the swimmer in this border area and films the vastness of a space beyond the scale of the human
body. The camera catches and fragments the movements punctuated by the sea, capturing its tilting and arrhythmia,
blending an inevitable feeling of seasickness to the poetics of space. As if we were there.
Swimmer, 2010, Quando si parte, Assab One, Milan
Culture Hors Sol
2010, installation in situ, mixed media - plants, EPS, rockwool, plastic - 15 x 15m
Culture Hors Sol is a work created in situ for the Parc of Buttes Chaumont, where it was installed during three
months. Japanese knotweed, a plant classified as “invasive” in France as it is a scourge for the development of other
species, was collected in nature and replanted by means of cloning as a soilless culture. These plants which normally
grow on land are transposed onto the artificial lake. The installation gives the basic conditions for survival, light
and access to water, without being a closed system where everything would be controlled, leaving room for the
Curated by Lauranne Germond, Projet COAL with the support of WWF
Culture Hors Sol, 2010, Naturel Brut, Parc des Buttes Chaumont
Only the happy survive
2011, stickers, acrylic, photocopies
Realized during the art workshop Other Possible Worlds - A dictionary in space (Casino Luxembourg) Only the
happy survive departs from polymath Joseph Priestley’s work on “airs” and unfolds as a reflexion on experimental
approaches common to artists, scientists and inventors. Experiments and observations on different kinds of airs has
been considered some kind of idiosyncratic version of Priestley’s own imagination, scientific and political, arguing
that science could destroy “undue and usurped authority” and also that government has “reason to tremble even
at an air pump or an electrical machine”. The cutouts on the windows tint the corridor in pink, with symbols of
impossible perpetual motion machines, an early protheses and an icon of science fiction. The short phrases refer to
pathological science, declamation and a utopian quest for happiness, around a map of the happy countries of the
Only the happy survive, 2011, Centre Emile Hamilius, Luxembourg
Dead zone
simulation of the project (bioreactor, artificial seawater, lightning, phytoplancton)
Dead zone proposes to artificially recreate the homonymous natural phenomenon, caused by a rapid increase in the
concentration of phytoplankton (an algal bloom) in a water system, when all oxygen is consumed by the algae. All
superior forms of life disappear in a dead zone and toxins are created.
By artificially reproducing a natural phenomenon in a container-object using living and evolving matter, as where
it a laboratory of research on the natural phenomenon Dead zone makes use of scientific territory and raises our
awareness of a strange reality, evoking its potential danger.
Dead zone, simulation of the project
2010, hd video, colour, stereo, 16/9, variable dimensions, 6 min 52 sec looped
Filmed in the Seine, in a place home to derelicts, Vrak decrypts a landscape between different levels where light and
image merge.
Vrak, 2010, Usine TRACES, Belleville
2009, intervention, cotton on barbed wired
The intervention consisted of covering the barbed wire fences surrounding the Kolonie gardens, where the
exhibition With or Without took place, with cotton.
Sommaridyll, 2009, cotton on barbed wired intervention, With or Without, UDK, Berlin
2009, hd video, colour, stereo, 7 min 22 sec & 4 min 36 sec looped, diapositif
Mustikka combines two videos and a diapositif citing the finnish proverb “oma maa mansikka, muu maa mustikka”.
The title refers to the notion of territory implied in the proverb generally translated as “home sweet home”(literally
my land strawberry, land elsewhere blueberry), as well as to an introspection on my references rooted in a Finnish
animistic belief system and a wilderness culture.
The two videos refer to the forest and the water spirits (metsän väki & vedenhaltijat) , one video rather figuratively
by the movements of the wind and the focusing of the camera (vertical projection) the other more abstractly and
by the movements of the sea pulling beneath the water surface (horizontal screen). These spirits are the ones of
wilderness, different from the earth spirits (maan haltijat) which would be “strawberry”.
Mustikka, Galerie Jeune Création, installation view
2008, installation interactive, (computers, programming, videoprojector, monitors) variable dimensions
(minimum 10 x 6 m)
Link is an interactive audiovisual installation where the spatial relations between individuals and their virtual energy
exchange are passed on to “avatars”. The avatars follow their genitors and develop until the “separation”, after which
they continue their evolution independently in a virtual space. The energy flows are evoked by sound and visual
perceptions modified by the movements of the spectators.
Before entering the interactive area, the participant is invited to create an avatar, modeled on a voice sample,
which he then modulates by his movements. The “Eden” of the avatars is a virtual world populated by the avatars of
former users. The avatars continue their lives, moving around and linking themselves with each other. Their features
are those of their physical owners and their movements are moulded on the experience of their genitors.
Link is a collaborative project with Giorgio Partesana, with the support of Art Council of Finland & Acroe
Link, 2008, Enaction in arts, la Bastille, Grenoble, view of the interactive area
2007, sound installation, mixed media (balloons, cables, microphones, speakers, sound system), variable
dimensions (18 m x 6,5 m),
Interval is an evolving land and soundscape. A cloud of balloons above the visitors capture the surrounding sound in
real time. The sound is then rediffused as an echo together with the sound spectrum of the balloons. The playback is
differed as well as displaced, moving around and altering the perception of the space.
Interval is a collaboration with Blandine Brière, with the support of Fondation EDF - Espace Electra / ENSBA
Interval, 2007, ENSBA, installation view
2007, closed circuit, camera, suspended screen, videoprojector, variable dimensions
Soleil is a closed circuit capturing and diffusing its own projection, causing a disordered state of the mechanism of
the opening of the diaphragm and a pulsation of the light - image. It uses a camera filming the beam of the video
projector used for the installation. The image projected is the pulsing light of the projector beam captured by the
camera in real time.
The suspended retro-projection screen allows visitors to see the installation as a projection before discovering the
mechanism of the device. The screen creates two different spaces, a passive space and an active space where the
light-image is created.
Soleil, 2007, galerie droite, ENSBA
installation, 2007, mixed media (intervention, neon), 2 x 6m
A blinding light under a reversed staircase. A place of monsters, frights and claustrophobia.
Cavern, 2007, ENSBA, installation view
2007, video installation, variable dimensions
movements of water in its various states, vertical, horizontal, diagonal… pulsations and lights. Interiorized images,
myopia, limits of sight, the frame, the screen and the hors-champs…
Passings, 2007, video installation, galerie droite, ENSBA
2006, video, colour, stereo, 16/9, variable dimensions, 15 min 48 sec
Figures move through frozen landscapes, natural and man-made, passing emptiness in a journey without
Sair, 2006, Arte Hoje, Parque Lage, Rio de Janeiro
2005, video, colour, stereo, 4/3, variable dimensions, 3 min 55 sec
A man, a woman in a winter landscape. Alone, in a vast exterior, one running between two trees, the other spinning
video frames
2004, intervention-occupation of the water containers of Villa Savoye
The intervention seeks to “re-contextualize” an element of a strong mythological symbolism and important for the
villas past, water and rain. The stagnate water in the different water-containers forms a network of interior lakes. The
pipes, the waterway connecting these lakes serve as terrestrial roots which connect us to the exterior.
Water evokes the topics of purification, of baptism, and of a new life. Subjects close to the new man of the
1930s, corresponding to the concepts of sanitarianism of modernistic architecture. Simultaneously the destructive
dimension of water is present. The lakes are calm but suspicious, the flood-invasion is awaited.
Water and rain, have been important for the history of Villa Savoye, which since its youth knew problems of
moisture and rain infiltrations.
Ghostscapes curated by Philippe Rahm
Lakes, 2004, Ghostscapes, MONUM Villa Savoye
2004, installation, cloth, etiquettes, wood - 4m x 4m
The installation was conceived during a workshop at the Royal Accademy of Fine Arts of Phnom Penh, where a
group of 10 students from ENSBA Paris worked together with the cambodian artstudents.
Web uses common objects, cloth and etiquettes recovered from a jeans factory, tied together as eight connected
hammocks, a common element in the city of Phnom Pehn, and supported by a wooden structure. The installation
was left for the use of its visitors.
With the support of Centre Culturel Francais of Phnom Penh
Web, 2004, Royal Accademy of Fine Arts, Phnom Penh