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Trine Lise Nedreaas, Forget Me Not

Luxe Gallery
53 Stanton Street, 212-582-4425
East Village / Lower East Side
October 17 - November 11, 2006
Reception: Tuesday, October 17, 6 - 8 PM
Web Site

An old man in a velvet jacket stares at us from across a table, a clock starts ticking. In 40 seconds flat he has eaten the mountain of sausages before him, beating his own world record, again. In a fanfare of showmanship, his hands fly up and his mouth opens wide, toothlessly in awe of its own performance. In the video series Forget Me Not a sword-swallower, a strongman and a glutton perform their extraordinary, record-breaking and potentially deadly acts in a private circus sideshow just for us. Condemned to endlessly repeat or better their endeavours they illustrate the extremes to which some are willing to go in their hunger for fame and the admiration of others.

Three phantasmagoric landscapes give shape to the voices of the dead. These large-scale cinematic photographs were created from found recordings of Electronic Voice Phenomenon - audio recordings of emptiness amplified, analysed and enhanced to reveal ghostly utterances. In illustrating these unlikely communications through audio spectrograms, the dead appear to express themselves in seductive and strangely fortuitous patterns. Intangible plumes of phosphorescence cloud a laugh, whilst the breach in a wall of noise beckons us closer into the darkness. Seeking signs that their loved ones are not forever lost, but still persist in some parallel world, the recently bereaved may find slithers of hope in their blurred shifting depths.

Trapped in a claustrophobic environment of uncertainty, life is an endless cycle of limbo and panic in the new work Underbelly. Filmed entirely underwater, lone bodies float side by side, heads stuck through the surface and legs kicking spasmodically to stay afloat. The dark waters and the unknown surround them and terror lurks as a deep heavy sound, a constant invisible threat below. This nightmarish and disturbing vision is a perversely beautiful and seductive meditation on the human condition.

Despite the seriousness of her concerns, Nedreaas’ works have a dark yet sweet beauty to them. Her films are both disturbing and humorous at the same time:

`I am interested in people’s reason for being and the drive to carry on and get out of bed every morning. I admire the enthusiasts, the people who try again and again, often banging their head against the wall; the different outlets people have for creating meaning, be it sausage-eating, weight-lifting, singing or acting as corpses. I sympathize with stuttering, stumbling and singing out of tune and am fascinated by the weird and the beautiful, the vast and strange variety of human endeavours.’
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