You are on page 1of 10

EIJA-LIISA AHTILA

Parkett 68 – 2003
Eija-Liisa
Ahtila
EIJA-LIISA AHTILA, THE HOUSE, 2002, 14 min.
DVD installation for 3 projections with sound /

14-Min.- DVD -Installation für 3 Projektionen mit Ton.


(PHOTO: MARJA-LEENA HUKKANEN)
Eija-Liisa
Ahtila
EIJA-LIISA AHTILA, THE HOUSE, 2002, 14 min.
DVD installation for 3 projections with sound /

14-Min.- DVD -Installation für 3 Projektionen mit Ton.


(PHOTO: MARJA-LEENA HUKKANEN)
E ija-Liisa Ahtila E ija-Liisa Ahtila

EIJA-LIISA AHTILA to approach and construct the story. So, I think my


approach is still an artist’s.
C I : During your training, you must have been ex-
posed to film history and film theory, and you also
in Conversation with
TH I N K I N G
come out of the strong context of Finnish cinema.
E A : Because I was quite old already when I thought
about the transition from art to film, I didn’t want to
IN FI LM CHRISSIE ILES spend time taking technical courses such as how to
use a camera. Instead, I felt I needed to concentrate
on the different ways of expressing things with the
medium, so I chose courses on editing and cinema-
tography and learned about the different choices EIJA-LIISA AHTILA,CONSOLATION SER VICE, 1999, still from
ferent from the approach to cinema that most artists that cinematographers had made in order to suggest 24 min. 35-mm film / Bild aus dem 24-minütigen 35-mm-Film.
took after 1989 in Europe and Scandinavia. You are the emotions they wanted to express. And I also took
one of the few artists who trained in film, in both some courses on film history and theory. seeing them as installations, watching the narrative
America and England, and you incorporated the You asked about my use of still images. I try to unfold spatially, within multiple screens, in a gallery?
black box of cinema into the white cube of the think about these issues in relation to telling a story E A : An installation with three screens definitely
gallery from the beginning. So what does extended or creating a narrative. Usually in films the image is gives much more emphasis to the image, and it also
cinema mean in your work? And how is it different subordinate to the story, which means that when you allows lots more experimentation. But we are still
from others who have incorporated the cinematic? cut from one image to another—let’s say from a long talking about the moving image and storytelling—
E i j a - L i i s a A h t i l a : My approach to cinema shot to a close up—you’ve got to give more informa- a moving image narrative seems to have this great po-
and the moving image has to do with my background. tion about a character or events. That’s the motiva- tential to glue everything together. Sound is always
I graduated as a painter and painted for a couple of tion for cutting—images are always … about space and distances, and two images close to
years, and then I became interested in photography C I : … vehicles for the narrative. each other always connect. This is of course a ques-
and started making photo and text installations. Dur- E A : Exactly. The meaning of the image comes from tion about perception and I’m also thinking about
ing that period I also read art theory and followed the story. I’d like to do it differently and still main- the set of rules we use to create a narrative. Take
what was going on internationally. In 1987 I took tain the coherence of the story. There are many pos- CONSOLATION SERVICE, which was made for Venice
part in a video course with some of my friends and sibilities that the moving image offers. (“End of Story,” La Biennale di Venezia, 49th Inter-
found the medium fascinating. I did some little C I : Was film an early influence on you in Finland? national Art Exhibition, Nordic Pavilion, 1999) as an
things with video and at the beginning of the nine- E A : There was a cinema club in this small town example. I wanted to explore the difference between
ties went to study film. The plan was to give up visual where I lived as a child that I remember going to. a story told either with one or two images: in the cin-
arts, but that didn’t happen—I got stuck somewhere They showed a Louis Malle film about a young wom- ema, the aim is to find the best possible vantage point
between the two traditions. an and her first sexual experiences. I thought it had for viewers in regard to the linear events taking
I feel that because of my background as a painter, a weird symbolism, but I enjoyed it. I think it’s called place on screen within a single projective frame. Ev-
C h r i s s i e I l e s : Perhaps we should start by talk- my approach to film is more about how to express Black Moon. I was thirteen or fourteen; another one I erything has been constructed in relation to this,
ing about a phrase in the subtitle of Daniel Birnbaum’s something through the medium of the moving image. saw was Robert Altman’s Three Women. And Ingmar from the microphone positioning at the locations to
essay about your work, “extended cinema.” When I The question “what is a moving image?” became Bergman’s films. the editing of the images from one shot to the other.
went through the different pieces chronologically, it more important to me than whether the context was C I : Was Ingmar Bergman a strong presence in Fin- In a multi-screen installation, you can’t experience
became clear that the boundaries between fiction cinema, visual art or new media. When making the land? the narrative singularly, as several things are happen-
and documentary, ego and the loss of self, and be- works, “what” frequently turns into “how.” How to ex- E A : Yes. His films were also shown on TV. ing in the space. Also, several screens make it pos-
tween the still and the moving image, all very cine- press sadness in images? Can a feeling be expressed C I : In your installations, you shift between fore- sible, for example, to show the reaction shot and the
matic issues, were present from the beginning. Yet the without its opposite? How is understanding related grounding image and narrative. Do the multiple action shot at the same time. This means that the
“extended cinema” that you have created is very dif- to time, and what is the role of causality in installa- screens help abstract or forefront the image, both viewer has to choose. At Kiasma, when there was a
tions? Making films and installations became a mat- compositionally, within the frame, and in the physical screening of the film CONSOLATION SERVICE, the in-
C H R I S S I E I L E S is Curator of Film and Video at the Whit- ter of identifying the links between images, sounds, construction of the pieces? What is the difference stallation version was on view as well. People I spoke
ney Museum of American Art, New York. rhythms, light, characters, and words, and using them between watching your films linearly in a cinema, and with mentioned that the experience in the installa-

P A R K E T T 68 2 0 03 58 59
E ija-Liisa Ahtila E ija-Liisa Ahtila

EIJA-LIISA AHTILA to approach and construct the story. So, I think my


approach is still an artist’s.
C I : During your training, you must have been ex-
posed to film history and film theory, and you also
in Conversation with
TH I N K I N G
come out of the strong context of Finnish cinema.
E A : Because I was quite old already when I thought
about the transition from art to film, I didn’t want to
IN FI LM CHRISSIE ILES spend time taking technical courses such as how to
use a camera. Instead, I felt I needed to concentrate
on the different ways of expressing things with the
medium, so I chose courses on editing and cinema-
tography and learned about the different choices EIJA-LIISA AHTILA,CONSOLATION SER VICE, 1999, still from
ferent from the approach to cinema that most artists that cinematographers had made in order to suggest 24 min. 35-mm film / Bild aus dem 24-minütigen 35-mm-Film.
took after 1989 in Europe and Scandinavia. You are the emotions they wanted to express. And I also took
one of the few artists who trained in film, in both some courses on film history and theory. seeing them as installations, watching the narrative
America and England, and you incorporated the You asked about my use of still images. I try to unfold spatially, within multiple screens, in a gallery?
black box of cinema into the white cube of the think about these issues in relation to telling a story E A : An installation with three screens definitely
gallery from the beginning. So what does extended or creating a narrative. Usually in films the image is gives much more emphasis to the image, and it also
cinema mean in your work? And how is it different subordinate to the story, which means that when you allows lots more experimentation. But we are still
from others who have incorporated the cinematic? cut from one image to another—let’s say from a long talking about the moving image and storytelling—
E i j a - L i i s a A h t i l a : My approach to cinema shot to a close up—you’ve got to give more informa- a moving image narrative seems to have this great po-
and the moving image has to do with my background. tion about a character or events. That’s the motiva- tential to glue everything together. Sound is always
I graduated as a painter and painted for a couple of tion for cutting—images are always … about space and distances, and two images close to
years, and then I became interested in photography C I : … vehicles for the narrative. each other always connect. This is of course a ques-
and started making photo and text installations. Dur- E A : Exactly. The meaning of the image comes from tion about perception and I’m also thinking about
ing that period I also read art theory and followed the story. I’d like to do it differently and still main- the set of rules we use to create a narrative. Take
what was going on internationally. In 1987 I took tain the coherence of the story. There are many pos- CONSOLATION SERVICE, which was made for Venice
part in a video course with some of my friends and sibilities that the moving image offers. (“End of Story,” La Biennale di Venezia, 49th Inter-
found the medium fascinating. I did some little C I : Was film an early influence on you in Finland? national Art Exhibition, Nordic Pavilion, 1999) as an
things with video and at the beginning of the nine- E A : There was a cinema club in this small town example. I wanted to explore the difference between
ties went to study film. The plan was to give up visual where I lived as a child that I remember going to. a story told either with one or two images: in the cin-
arts, but that didn’t happen—I got stuck somewhere They showed a Louis Malle film about a young wom- ema, the aim is to find the best possible vantage point
between the two traditions. an and her first sexual experiences. I thought it had for viewers in regard to the linear events taking
I feel that because of my background as a painter, a weird symbolism, but I enjoyed it. I think it’s called place on screen within a single projective frame. Ev-
C h r i s s i e I l e s : Perhaps we should start by talk- my approach to film is more about how to express Black Moon. I was thirteen or fourteen; another one I erything has been constructed in relation to this,
ing about a phrase in the subtitle of Daniel Birnbaum’s something through the medium of the moving image. saw was Robert Altman’s Three Women. And Ingmar from the microphone positioning at the locations to
essay about your work, “extended cinema.” When I The question “what is a moving image?” became Bergman’s films. the editing of the images from one shot to the other.
went through the different pieces chronologically, it more important to me than whether the context was C I : Was Ingmar Bergman a strong presence in Fin- In a multi-screen installation, you can’t experience
became clear that the boundaries between fiction cinema, visual art or new media. When making the land? the narrative singularly, as several things are happen-
and documentary, ego and the loss of self, and be- works, “what” frequently turns into “how.” How to ex- E A : Yes. His films were also shown on TV. ing in the space. Also, several screens make it pos-
tween the still and the moving image, all very cine- press sadness in images? Can a feeling be expressed C I : In your installations, you shift between fore- sible, for example, to show the reaction shot and the
matic issues, were present from the beginning. Yet the without its opposite? How is understanding related grounding image and narrative. Do the multiple action shot at the same time. This means that the
“extended cinema” that you have created is very dif- to time, and what is the role of causality in installa- screens help abstract or forefront the image, both viewer has to choose. At Kiasma, when there was a
tions? Making films and installations became a mat- compositionally, within the frame, and in the physical screening of the film CONSOLATION SERVICE, the in-
C H R I S S I E I L E S is Curator of Film and Video at the Whit- ter of identifying the links between images, sounds, construction of the pieces? What is the difference stallation version was on view as well. People I spoke
ney Museum of American Art, New York. rhythms, light, characters, and words, and using them between watching your films linearly in a cinema, and with mentioned that the experience in the installa-

P A R K E T T 68 2 0 03 58 59
E ija-Liisa Ahtila E ija-Liisa Ahtila

you have to learn to know the events and the charac-


ters in order to understand them. You need to stay
with them to be able to react emotionally when, for
example, they fall through the ice or the man mate-
rializes and disappears. These things depend on the
chosen structure of the story.
C I : Fragmentation occurs in your work as a meta-
phor of psychological disturbance, touching on the
boundaries of psychosis, particularly in your relation
to women. In a single screen format, these bound-
aries are represented in a very different way from an
installation like ANNE, AKI AND GOD (1998) where
the breaking down of the understanding of where
reality ends and fantasy begins is literalized. Aki’s
bed, with a screen above it, becomes, like Barthes’
description of cinema, like slipping into bed and
dreaming.

EIJA-LIISA AHTILA, ANNE, AKI AND GOD, 1998,

Stills aus der 30-minütigen DVD.


stills from the 30 min. DVD /
EIJA-LIISA AHTILA, ANNE, AKI AND GOD, 1998, 30 min. DVD installation for 2 projections and 5 monitors with sound; wooden str ucture,
fur niture, text / DVD -Installation für 2 Projektionen und 5 Monitore mit Ton, Dauer: 30 Min.; Holzgerüst, Möbel, Text.
E A : ANNE, AKI AND GOD is based on a true story
tion felt more realistic, you couldn’t choose sides: the screens, you can’t really guide the experience as pre- that happened to a young guy in Helsinki. A friend of
woman’s point of view in the story didn’t appear to be cisely as with one screen. mine told me about this man’s extraordinary psychot-
emphasized. In the film, it became more obvious that C I : In CONSOLATION SERVICE, the viewer could ic experience, and we agreed that he would inter-
the main character’s presence directed the story. only enter at the beginning of the film. Why did you view Aki. So he did, and the tapes were transcribed.
C I : Was that what you had intended or did this sur- insist on this for that particular piece and not for the The installation is based on that material. Because
prise you? others? the experience existed only in his imagination, I
E A : No, I didn’t intend that. So I was happy to hear E A : When I was writing the story, I wanted to ex- thought it would be nice to concretize it. In the story,
the comments. My aim was to explore different ways plore how to move from one emotion to another— God appeared on the screen above his bed and told
of telling a story—it is actually part of my thesis work how this kind of building of a work functions in an him, “Aki, you have a girlfriend, Anne. Look around,
for the Academy of Fine Arts in Helsinki. With two installation. After seeing the finished work, I felt that it’s so dirty, you have to clean it here. Anne can’t

60 61
E ija-Liisa Ahtila E ija-Liisa Ahtila

you have to learn to know the events and the charac-


ters in order to understand them. You need to stay
with them to be able to react emotionally when, for
example, they fall through the ice or the man mate-
rializes and disappears. These things depend on the
chosen structure of the story.
C I : Fragmentation occurs in your work as a meta-
phor of psychological disturbance, touching on the
boundaries of psychosis, particularly in your relation
to women. In a single screen format, these bound-
aries are represented in a very different way from an
installation like ANNE, AKI AND GOD (1998) where
the breaking down of the understanding of where
reality ends and fantasy begins is literalized. Aki’s
bed, with a screen above it, becomes, like Barthes’
description of cinema, like slipping into bed and
dreaming.

EIJA-LIISA AHTILA, ANNE, AKI AND GOD, 1998,

Stills aus der 30-minütigen DVD.


stills from the 30 min. DVD /
EIJA-LIISA AHTILA, ANNE, AKI AND GOD, 1998, 30 min. DVD installation for 2 projections and 5 monitors with sound; wooden str ucture,
fur niture, text / DVD -Installation für 2 Projektionen und 5 Monitore mit Ton, Dauer: 30 Min.; Holzgerüst, Möbel, Text.
E A : ANNE, AKI AND GOD is based on a true story
tion felt more realistic, you couldn’t choose sides: the screens, you can’t really guide the experience as pre- that happened to a young guy in Helsinki. A friend of
woman’s point of view in the story didn’t appear to be cisely as with one screen. mine told me about this man’s extraordinary psychot-
emphasized. In the film, it became more obvious that C I : In CONSOLATION SERVICE, the viewer could ic experience, and we agreed that he would inter-
the main character’s presence directed the story. only enter at the beginning of the film. Why did you view Aki. So he did, and the tapes were transcribed.
C I : Was that what you had intended or did this sur- insist on this for that particular piece and not for the The installation is based on that material. Because
prise you? others? the experience existed only in his imagination, I
E A : No, I didn’t intend that. So I was happy to hear E A : When I was writing the story, I wanted to ex- thought it would be nice to concretize it. In the story,
the comments. My aim was to explore different ways plore how to move from one emotion to another— God appeared on the screen above his bed and told
of telling a story—it is actually part of my thesis work how this kind of building of a work functions in an him, “Aki, you have a girlfriend, Anne. Look around,
for the Academy of Fine Arts in Helsinki. With two installation. After seeing the finished work, I felt that it’s so dirty, you have to clean it here. Anne can’t

60 61
E ija-Liisa Ahtila E ija-Liisa Ahtila

come here.” This is how the psychosis started. Since through research gives you the freedom to invent external subjects to a more personal subject matter. structure, as a way of creating what is around you.
Anne lived only in Aki’s dreams, I wanted Anne to be things. In GRAY (1997), one persona recounts the effects E A : When an artist makes a film, people often as-
present—to be there for everyone to see. So I put out C I : An aspect of your work reminds me of Holly- of nuclear accident on the environment, through sume that everything rises from their personal life—
a casting call, took the job description to the em- wood melodrama, and its heightened psychological different voices. that the topic is autobiographical, and the events in
ployment office, and fourteen women responded. fear. E A : I made that work in 1993, when I was invited to the film have happened to the artist and are pre-
Seven of the short interviews with them appear on E A : I like Robert Altman, Rainer Werner Fassbin- take part in two different exhibitions, one in Stock- sented more or less in the way that they occurred in
another screen, making the process of making the der and John Cassavetes, among others—but during holm and one in Moscow. I got the idea for the work real life. This kind of approach eliminates the pro-
film more visible. the working process, books I’ve read are more im- one evening when I was at home. I don’t remember cess of making the work, the distance between an
C I : Is this the piece in which the process of the portant. what I was doing. The TV was on, but I wasn’t really idea and the finished film, everything that actually
making of the film is most clearly evident? The con- C I : You’re more influenced by literature than by watching it. I noticed an advertisement, then I went makes the work what it really is. It completely over-
trast between fiction and reality is very precise there, film? on doing what I was doing, then after a while, I saw it looks the creative process—the ways of creating mean-
because the realism of the actresses being inter- E A : It depends. When I’m planning the work, mak- again. I wasn’t quite sure if it was exactly the same as ing within the medium itself. For example, in film,
viewed contrasts so strongly with Aki’s fantasies. It ing notes and writing the script, text is material with before or another version of it. This made me think emotions are created from a knowledge of the char-
reminds me of Brechtian theater, where the mechan- which I have a kind of communication. For example, about the way adverts work, the special needs of a acters, the use of sounds, juxtapositions of material,
ics of how the drama is created are made evident. in a book I bought yesterday, there’s a paragraph short slot, and the relationship between fiction and rhythms of editing, etc. Also, this attitude forgets the
E A : When the actor suddenly directs the words to with a simple description of a phone ringing on the the advertisements. I became interested in doing a important input of the members of the crew—the
the audience … wall. This gave me an idea about a transition from work in the space reserved for adverts on TV. The cinematographer, the sound designer, the set design-
C I : … and the illusion is broken. one scene to another. In the book, it wasn’t an themes of both exhibitions happened to be “iden- er, the editor, just to mention a few.
E A : Since Brecht and Godard, and long nights with important thing, but it gave me an idea that was tity.” I made three short spots of which the last one On the other hand, I don’t wish to deny the im-
TV, I feel that illusion has become material to work suitable for the atmosphere of the scene. I enjoy deals with national identity and culture in relation to portance of the personal when making the work, in
with. Sometimes it’s interesting to think about, rather reading Paul Bowles, Ian McEwan, Patrick McGrath, the pervasiveness of nuclear disaster. terms of my own point of view and my relationship to
than to create illusion. Don DeLillo. Now I’m reading Virginia Woolf’s short C I : You often use different personae to tell a story. society. This leads me to think of how the “personal”
C I : Your process of disrupting illusion could be stories. I usually read material about the subject mat- One voice starts and another voice picks up where functions in making works with moving images.
argued to relate to the conceptual practices of the ter I’m working on as well. the other left off, until the origin of the voice be- Sometimes I’m asked questions like “Have you been
sixties, which you’ve developed within a narrative C I : In your recent works, the intimacy of a domes- comes confused. It becomes especially ambiguous be- mentally ill?” But I’d rather talk about the ways the
cinematic framework. You also use the performative tic environment heightens the claustrophobia of the cause we move back and forth between documentary personal can be seen in the rhythm of the work, the
as part of this questioning. darkened space, creating a kind of container for the and fiction. We don’t know what you’ve written and editing, and maybe in the way light functions as part
E A : I haven’t thought of this in relation to my work emotional intensity that is expressed. In THE WIND what you’ve read. That fragmentation of the single of the story.
but it’s funny that many of my friends are from the- (2002), the construction of space within the film voice through language seems to be an expression of C I : In relation to your photographic works, in par-
ater. I remember enjoying Meyerhold’s ideas as a is conveyed both materially and psychologically, the fragmented self. ticular the constructed domestic interiors, you have
young student. through physical space: the walls and curtains close E A : Using different voices, male and female, with talked of the doll’s house, and the construction of an
C I : Also related to the Brechtian element is your in, then the bookshelves fall over. one actor on screen, was a means of questioning the interior space in which the raw edges of the walls are
resonance with Finnish cinema, which is often semi- E A : I like to keep the different elements of moving boundaries between self and other. With the work visible—the artifice of the room, as almost a stage
documentary, and socially based. In your work, we images equal, to use sounds, colors and light instead IF 6 WAS 9 (1995), I tried to use the split screen as set, is revealed.
encounter young men and women, teenagers, older of giving information only through dialogue. But I a metaphor of the teenage girl’s identity. It was E A : I usually make one photographic series per
women, all with complex problems. We can identify like words … the first work in which I used several projections. I year. I like to make a series, not just single pieces. In
with them, because they’re not romanticized. C I : This kind of equality was already present in planned the work when I was still living in L.A. I saw one frame, there are usually two to four images.
E A : I want the characters to be straightforward, but your earliest wall pieces, in which you combined text a series of billboard advertisements made of huge Since I started working with moving images, it’s been
on the other hand also poetic. and images within a single metal frame. Those struc- black-and-white photos showing models standing in difficult for me to work with just one image. It feels
C I : They also have a surreal quality. tures seem to anticipate the screen structures in your a composite of several images, and you could see too fixed, without time and a possibility to make an
E A : Maybe that’s because of the combination I men- projective installations. In THE WIND or THE HOUSE the cut between them. I thought the split screen error. An error is a chance, a crack, a break of an or-
tioned. All the stories and characters are fictional, (2002), we look up towards the screens, which sug- suggested the idea of girls growing up. der. I don’t use film stills or the same material as in
but based on research. When I start thinking about a gest both cinematic viewing and large-scale painting. C I : Within this approach, what does “personal” the films, but the different works can be linked the-
work, I like to be certain about the facts—I need to This seems to be a key to the relationship between mean? You have adopted a non-personal—non-auto- matically. After finishing the installation THE HOUSE
know that it could have happened, and that it’s be- your still images and your installations. And there biographical—approach in constructing your work, and the film LOVE IS A TREASURE (2002), I still want-
lievable. Then again, the knowledge that you gain was a moment where this relationship shifted, from but you also want us to think about the personal as a ed to work with the themes of perception and giving

62 63
E ija-Liisa Ahtila E ija-Liisa Ahtila

come here.” This is how the psychosis started. Since through research gives you the freedom to invent external subjects to a more personal subject matter. structure, as a way of creating what is around you.
Anne lived only in Aki’s dreams, I wanted Anne to be things. In GRAY (1997), one persona recounts the effects E A : When an artist makes a film, people often as-
present—to be there for everyone to see. So I put out C I : An aspect of your work reminds me of Holly- of nuclear accident on the environment, through sume that everything rises from their personal life—
a casting call, took the job description to the em- wood melodrama, and its heightened psychological different voices. that the topic is autobiographical, and the events in
ployment office, and fourteen women responded. fear. E A : I made that work in 1993, when I was invited to the film have happened to the artist and are pre-
Seven of the short interviews with them appear on E A : I like Robert Altman, Rainer Werner Fassbin- take part in two different exhibitions, one in Stock- sented more or less in the way that they occurred in
another screen, making the process of making the der and John Cassavetes, among others—but during holm and one in Moscow. I got the idea for the work real life. This kind of approach eliminates the pro-
film more visible. the working process, books I’ve read are more im- one evening when I was at home. I don’t remember cess of making the work, the distance between an
C I : Is this the piece in which the process of the portant. what I was doing. The TV was on, but I wasn’t really idea and the finished film, everything that actually
making of the film is most clearly evident? The con- C I : You’re more influenced by literature than by watching it. I noticed an advertisement, then I went makes the work what it really is. It completely over-
trast between fiction and reality is very precise there, film? on doing what I was doing, then after a while, I saw it looks the creative process—the ways of creating mean-
because the realism of the actresses being inter- E A : It depends. When I’m planning the work, mak- again. I wasn’t quite sure if it was exactly the same as ing within the medium itself. For example, in film,
viewed contrasts so strongly with Aki’s fantasies. It ing notes and writing the script, text is material with before or another version of it. This made me think emotions are created from a knowledge of the char-
reminds me of Brechtian theater, where the mechan- which I have a kind of communication. For example, about the way adverts work, the special needs of a acters, the use of sounds, juxtapositions of material,
ics of how the drama is created are made evident. in a book I bought yesterday, there’s a paragraph short slot, and the relationship between fiction and rhythms of editing, etc. Also, this attitude forgets the
E A : When the actor suddenly directs the words to with a simple description of a phone ringing on the the advertisements. I became interested in doing a important input of the members of the crew—the
the audience … wall. This gave me an idea about a transition from work in the space reserved for adverts on TV. The cinematographer, the sound designer, the set design-
C I : … and the illusion is broken. one scene to another. In the book, it wasn’t an themes of both exhibitions happened to be “iden- er, the editor, just to mention a few.
E A : Since Brecht and Godard, and long nights with important thing, but it gave me an idea that was tity.” I made three short spots of which the last one On the other hand, I don’t wish to deny the im-
TV, I feel that illusion has become material to work suitable for the atmosphere of the scene. I enjoy deals with national identity and culture in relation to portance of the personal when making the work, in
with. Sometimes it’s interesting to think about, rather reading Paul Bowles, Ian McEwan, Patrick McGrath, the pervasiveness of nuclear disaster. terms of my own point of view and my relationship to
than to create illusion. Don DeLillo. Now I’m reading Virginia Woolf’s short C I : You often use different personae to tell a story. society. This leads me to think of how the “personal”
C I : Your process of disrupting illusion could be stories. I usually read material about the subject mat- One voice starts and another voice picks up where functions in making works with moving images.
argued to relate to the conceptual practices of the ter I’m working on as well. the other left off, until the origin of the voice be- Sometimes I’m asked questions like “Have you been
sixties, which you’ve developed within a narrative C I : In your recent works, the intimacy of a domes- comes confused. It becomes especially ambiguous be- mentally ill?” But I’d rather talk about the ways the
cinematic framework. You also use the performative tic environment heightens the claustrophobia of the cause we move back and forth between documentary personal can be seen in the rhythm of the work, the
as part of this questioning. darkened space, creating a kind of container for the and fiction. We don’t know what you’ve written and editing, and maybe in the way light functions as part
E A : I haven’t thought of this in relation to my work emotional intensity that is expressed. In THE WIND what you’ve read. That fragmentation of the single of the story.
but it’s funny that many of my friends are from the- (2002), the construction of space within the film voice through language seems to be an expression of C I : In relation to your photographic works, in par-
ater. I remember enjoying Meyerhold’s ideas as a is conveyed both materially and psychologically, the fragmented self. ticular the constructed domestic interiors, you have
young student. through physical space: the walls and curtains close E A : Using different voices, male and female, with talked of the doll’s house, and the construction of an
C I : Also related to the Brechtian element is your in, then the bookshelves fall over. one actor on screen, was a means of questioning the interior space in which the raw edges of the walls are
resonance with Finnish cinema, which is often semi- E A : I like to keep the different elements of moving boundaries between self and other. With the work visible—the artifice of the room, as almost a stage
documentary, and socially based. In your work, we images equal, to use sounds, colors and light instead IF 6 WAS 9 (1995), I tried to use the split screen as set, is revealed.
encounter young men and women, teenagers, older of giving information only through dialogue. But I a metaphor of the teenage girl’s identity. It was E A : I usually make one photographic series per
women, all with complex problems. We can identify like words … the first work in which I used several projections. I year. I like to make a series, not just single pieces. In
with them, because they’re not romanticized. C I : This kind of equality was already present in planned the work when I was still living in L.A. I saw one frame, there are usually two to four images.
E A : I want the characters to be straightforward, but your earliest wall pieces, in which you combined text a series of billboard advertisements made of huge Since I started working with moving images, it’s been
on the other hand also poetic. and images within a single metal frame. Those struc- black-and-white photos showing models standing in difficult for me to work with just one image. It feels
C I : They also have a surreal quality. tures seem to anticipate the screen structures in your a composite of several images, and you could see too fixed, without time and a possibility to make an
E A : Maybe that’s because of the combination I men- projective installations. In THE WIND or THE HOUSE the cut between them. I thought the split screen error. An error is a chance, a crack, a break of an or-
tioned. All the stories and characters are fictional, (2002), we look up towards the screens, which sug- suggested the idea of girls growing up. der. I don’t use film stills or the same material as in
but based on research. When I start thinking about a gest both cinematic viewing and large-scale painting. C I : Within this approach, what does “personal” the films, but the different works can be linked the-
work, I like to be certain about the facts—I need to This seems to be a key to the relationship between mean? You have adopted a non-personal—non-auto- matically. After finishing the installation THE HOUSE
know that it could have happened, and that it’s be- your still images and your installations. And there biographical—approach in constructing your work, and the film LOVE IS A TREASURE (2002), I still want-
lievable. Then again, the knowledge that you gain was a moment where this relationship shifted, from but you also want us to think about the personal as a ed to work with the themes of perception and giving

62 63
E ija-Liisa Ahtila E ija-Liisa Ahtila

FO R M V O N F I L M
DE N K E N I N
EIJA-LIISA AHTILA
im Gespräch mit
CHRISSIE ILES

C h r i s s i e I l e s : Vielleicht sollten wir zunächst


über einen Begriff reden, den Daniel Birnbaum im
Untertitel eines Essays zu deinem Werk verwendet:
extended cinema, erweiterter Film. Als ich mir die
verschiedenen Arbeiten in der Reihenfolge ihres
Entstehens anschaute, zeigte sich, dass die Grenzen
zwischen Fiktion und Dokumentation, Ich und
Selbstverlust sowie zwischen Standaufnahme und
bewegtem Bild – alles klassische Filmthemen – von
Anfang an präsent waren. Dennoch sind die «erwei-
terten Filme», die du gemacht hast, etwas ganz
anderes als die Filme der meisten Künstlerinnen und
EIJA-LIISA AHTILA,CONSOLATION SER VICE, 1999, 24 min. 35-mm film, installation view / Künstler in Europa und Skandinavien nach 1989. Du
24-minütiger 35-mm-Film, Installationsansicht. bist eine der wenigen, die das Filmemachen in Ame-
rika und England gelernt haben, und du hast die
meaning to things around you—creating a coherent along with Bergman and Buñuel, whose films I saw a Black Box des Kinos von Anfang an in den White
world that makes sense. This is similar to what a sce- lot when I was young and without a filmmaker’s point Cube der Galerie integriert. Was also bedeutet «er-
nographer does in her/his work; finding different of view. One thing I remember fascinating me was weiterter Film» im Rahmen deiner Arbeit? Und wo
places and constructing them in such a way that a be- the way in which the female characters turned and liegt der Unterschied gegenüber anderen, die den
lievable world comes together. This is how the series talked to us in the middle of the story, and I had a Film in ihre Arbeit einbeziehen?

EIJA-LIISA AHTILA, IF 6 WAS 9, 1995,


SCENOGRAPHER’S MIND (2002) was named. One of feeling of meeting new people, or characters, inside E i j a - L i i s a A h t i l a : Mein Umgang mit Film
the photographs includes kind of a doll’s house for the film. und bewegten Bildern hängt mit meinem Back-
adults. This is something I still would like to work As I mentioned earlier, I don’t usually consciously ground zusammen. Ich habe eine Ausbildung in
on, not with photographs, but in a more sculptural think about other films, filmmakers or different ap- Malerei abgeschlossen und malte einige Jahre lang,
context. proaches when I’m working on a new film or installa- dann begann ich mich für Photographie zu interes-
C I : Does your fragmentation of fictional narrative tion; but certainly Godard is the director you need to sieren und machte Installationen mit Photos und

35-mm film, details.


into real-life action relate to Godard’s techniques know about if you are interested in experimenting Texten. In dieser Zeit habe ich auch kunsttheo-
and philosophical thinking about cinema? with film and narrative. I try to see as many new films retische Schriften gelesen und verfolgte die interna-
E A : I don’t know how to answer that question—on as possible that experiment with narrative; unfor-
one hand, he is an extremely important figure in film tunately Helsinki is nowadays not such a good place C H R I S S I E I L E S ist Kuratorin für Film und Video am Whit-
history, and on the other, he’s one of the filmmakers, for that. ney Museum of American Art, New York.

64 65 P A R K E T T 68 2 0 03

You might also like