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Art historian Janeke Meyer Utne On video “Og så kom skreia inn fra havet...” 2006 ”And then the cod came in from the ocean.. In her video installation, Christiansen investigates the site as myth and narrative. Through stories told by people with a relation to Stamsund, and her own child drawings about the fishing in Lofoten, she enters into a dialogue with history and the physical framework of the installation: the abandoned fish processing plant. The video is a continuous shot of rolling waves and water in a constantly shifting light. The sound track consists of three separate voices, each telling a personal story related to the sea. The mood is that of stories told by the bonfire, but instead of the crackling fire we hear the swells and shrieking of seagulls – coastal Norways distinctive signature. It is a encounter bewteen the inner (subjective) narrative and the external realities, between the cultural perception and nature. Twelve year old Hanna tells about ”the big sea journey”, - her recollection of the trip on the oil tanker where her father was captain. Another perspective is represented by the fisherman, who gives a dramatic insight into the lives of those fishing the sea of Lofoten. However, we are not presented merely with an ethnic Norwegian point of view: Najat, a Kurdish woman from Irak tells about her place of her origin, and the encounter with Leknes and Norway. Her voice and the sound of the ocean interlace, drown each other out, only to reappaear again. On painting: Jannecke Lønne Christiansen - Rememberence and oblivion. Summary Art historian Ingrid Blekastad: What do we recollect of our own childhood, what stories are carried on in the family, what is forgotten or consciously concealed? These questions preoccupy the artist Jannecke Lønne Christiansen. In 1998 she started on a series og paintings/collage, the basis of which were old photographs. From her family albums she selected pictures, concentrating particulary on the woman. They were transferred onto canvas by silk screen, or simply pasted on to it. Her first “memorypicture” was the triptycon “HUSKE” ( meaning both “remembering” and “swing”) in 1998. In the middle we find a phtograph og Christiansen as a child, and on the side panels photographs of previous generations. Images are composed of the photographs and layers of painted areas. Like fragments or glimpses of memories the photograph emerges from behind layers of yellow and greens, - like shrouded parts of the past. Merely vague recollections or moods are remembered. Christiansen builds her paintings/collage from squeres, where piece s added to piece, The entirety becomes a grip on, or a systematisation of, a type of knoeledge. But what this knowledge should lead to is not shown. This perhapse, is the meaning of paintings.
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