A blast full of colours, immersive images and sensuous dreamscapes. With the first major presentation in Scandinavia of Swiss artist Pipilotti Rist, the exhibition in the museum's South Wing presents the work of one of visual art’s most conspicuous researchers of the senses in moving pictures.
Since the middle of the 1980s Pipilotti Rist (born 1962) has continuously explored, challenged and exploded the potentials, rules, conventions and limitations of a constantly evolving palette of video technologies. In her works, video is not just video, but also painting and space. Her work is at one and the same time high-tech and sensual, radiantly colourful and critical, weightless and body-bound.
C.L. Davids Fond og Samling supports 'Pipilotti Rist - Åbn min lysning (Open My Glade)'. The exhibition is also supported by Kvadrat and Pro Helvetia.
The exhibition 'Åbn min lysning (Open My Glade)' is the first major presentation of the artist’s work in Scandinavia and spans the whole output of the artist’s oeuvre — from early works in the TV format to large spatial video and audio installations with projections on ceilings, walls and floors. The exhibition, created for Louisiana in close collaboration with the artist herself, takes on the character of a site-specific immersive installation and continues out into the museum park.
The artist has wished to transform the museum into "a shared apartment where you can visit each other's brains and bodies." She stresses her firm belief in the fact that the museum "lifts us all into a common thought bubble" where we are able "to share knowledge, feelings, inner images and suggestions."
Pipilotti Rist’s dizzyingly intimate gaze at the internal and external world often suffuses both body and mind as a sensory state. The artist’s name is a nod to the Swedish author Astrid Lindgren’s rebellious, freethinking, and colourful heroine Pippi Longstocking.
In her art the camera is both eye and sense of touch, and external and internal images merge in the often psychedelic, symbol-laden spaces that range from the sensually playful, witty and free to immersions into more oppressive, existential depths. As she states herself, "video is like painting on glass that moves."